PREVIOUS CONCERTS
march 2023

Event Details
Performing with, Ray Chen, violin Programme Max Bruch Konzert für Violine und Orchester Nr. 1 g-Moll op. 26 György Ligeti Poème Symphonique für 100 Metronome Johannes Brahms Symphonie Nr. 4 e-Moll op. 98
Event Details
Performing with,
Ray Chen, violin
Programme
Max Bruch Konzert für Violine und Orchester Nr. 1 g-Moll op. 26
György Ligeti Poème Symphonique für 100 Metronome
Johannes Brahms Symphonie Nr. 4 e-Moll op. 98
Time
(Wednesday) 7:30 pm
Location
National Theater and Concert Hall, Taipei
No. 21-1號, Zhongshan S Rd, Zhongzheng District, Taipei City, Taiwan 100011

Event Details
Performing with, Ray Chen, violin Programme Anton Bruckner Symphonisches Präludium c-Moll Felix Mendelssohn Bartholdy Konzert für Violine und Orchester e-Moll op. 64 Johannes Brahms Symphonie Nr. 3 F-Dur op. 90
Event Details
Performing with,
Ray Chen, violin
Programme
Anton Bruckner Symphonisches Präludium c-Moll
Felix Mendelssohn Bartholdy Konzert für Violine und Orchester e-Moll op. 64
Johannes Brahms Symphonie Nr. 3 F-Dur op. 90
Time
(Tuesday) 7:30 pm
Location
National Theater and Concert Hall, Taipei
No. 21-1號, Zhongshan S Rd, Zhongzheng District, Taipei City, Taiwan 100011

Event Details
Programme Brahms: Symphony No 3 in F major, Op 90 Ligeti: Lontano Dvořák: Symphony No 8 in G major, Op 88 Jakub Hrůša, conductor Bamberg Symphony Tradition and renewal, with an orchestra from the heart of
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Event Details
Programme
Brahms: Symphony No 3 in F major, Op 90
Ligeti: Lontano
Dvořák: Symphony No 8 in G major, Op 88
Jakub Hrůša, conductor
Bamberg Symphony
Tradition and renewal, with an orchestra from the heart of Europe
Some orchestras are so good that they really deserve to be heard live. The Bamberg Symphony—one of Germany’s most prestigious orchestras—brought four outstanding online performances to the 2022 Hong Kong Arts Festival. Shortly afterwards it received an International Classical Music Award for its work with chief conductor Jakub Hrůša—who has been described by Gramophone as “on the verge of greatness”—reaffirming their status as one of the world’s most dynamic symphonic partnerships. Hrůša and the Bamberg Symphony are now set to make a highly anticipated live appearance at the upcoming Festival in 2023.
Over two in-venue concerts, they will explore very different perspectives from three uniquely individual composers. Each concert contains symphonies by Johannes Brahms and Antonín Dvořák—masterworks that deal with powerful and tender personal emotions, including the epic tragedy of Brahms’ Fourth Symphony, the deep poetry of Brahms’ Third and the soaring melody of Dvořák’s beloved “New World Symphony”. Each concert also features major 20th-century works by the Hungarian modernist and free spirit György Ligeti: Lontano builds a powerful atmosphere out of vast, shimmering vistas of orchestral sound, while the extraordinary Poème Symphonique features 100 metronomes almost (but not quite) in unison. The effect is provocative, playful and like nothing you have ever heard!
Time
(Sunday) 8:00 pm
Location
Hong Kong Cultural Centre
L5, Auditoria Building, 10 Salisbury Rd, Tsim Sha Tsui, Hong Kong

Event Details
Programme Dvořák: Symphony No 9 in E minor, Op 95, “From the New World” Ligeti: Poème Symphonique for 100 Metronomes Brahms: Symphony No 4 in E minor, Op 98 Jakub Hrůša, conductor Bamberg Symphony Tradition and renewal,
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Event Details
Programme
Dvořák: Symphony No 9 in E minor, Op 95, “From the New World”
Ligeti: Poème Symphonique for 100 Metronomes
Brahms: Symphony No 4 in E minor, Op 98
Jakub Hrůša, conductor
Bamberg Symphony
Tradition and renewal, with an orchestra from the heart of Europe
Some orchestras are so good that they really deserve to be heard live. The Bamberg Symphony—one of Germany’s most prestigious orchestras—brought four outstanding online performances to the 2022 Hong Kong Arts Festival. Shortly afterwards it received an International Classical Music Award for its work with chief conductor Jakub Hrůša—who has been described by Gramophone as “on the verge of greatness”—reaffirming their status as one of the world’s most dynamic symphonic partnerships. Hrůša and the Bamberg Symphony are now set to make a highly anticipated live appearance at the upcoming Festival in 2023.
Over two in-venue concerts, they will explore very different perspectives from three uniquely individual composers. Each concert contains symphonies by Johannes Brahms and Antonín Dvořák—masterworks that deal with powerful and tender personal emotions, including the epic tragedy of Brahms’ Fourth Symphony, the deep poetry of Brahms’ Third and the soaring melody of Dvořák’s beloved “New World Symphony”. Each concert also features major 20th-century works by the Hungarian modernist and free spirit György Ligeti: Lontano builds a powerful atmosphere out of vast, shimmering vistas of orchestral sound, while the extraordinary Poème Symphonique features 100 metronomes almost (but not quite) in unison. The effect is provocative, playful and like nothing you have ever heard!
Time
(Saturday) 8:00 pm
Location
Hong Kong Cultural Centre
L5, Auditoria Building, 10 Salisbury Rd, Tsim Sha Tsui, Hong Kong
14mar8:00 pmBamberg, Germany - Bamberg Symphony - Dvořák, Ligeti, Brahms8:00 pm Konzerthalle Bamberg

Event Details
Programme Antonín Dvořák Symphonie Nr. 9 e-Moll op. 95 »Aus der Neuen Welt« György Ligeti Poème Symphonique für 100 Metronome Johannes Brahms Symphonie Nr. 4 e-Moll op. 98
Event Details
Programme
Antonín Dvořák Symphonie Nr. 9 e-Moll op. 95 »Aus der Neuen Welt«
György Ligeti Poème Symphonique für 100 Metronome
Johannes Brahms Symphonie Nr. 4 e-Moll op. 98
Time
(Tuesday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany
13mar8:00 pmBamberg, Germany - Bamberg Symphony - Brahms, Ligeti, Dvořák8:00 pm Konzerthalle Bamberg

Event Details
Programme Johannes Brahms Symphonie Nr. 3 F-Dur op. 90 György Ligeti »Lontano« Antonín Dvořák Symphonie Nr. 8 G-Dur op. 88
Event Details
Programme
Johannes Brahms Symphonie Nr. 3 F-Dur op. 90
György Ligeti »Lontano«
Antonín Dvořák Symphonie Nr. 8 G-Dur op. 88
Time
(Monday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany

Event Details
PROGRAMME Bohuslav Martinů: »Les fresques de Piero della Francesca« Jean Sibelius: Violin Concerto in D Minor, Op. 47 Interval Bohuslav Martinů: Symphony No. 1 Jakub Hrůša, Conductor Lisa Batiashvili, Violin Symphonieorchester des Bayerischen Rundfunks INFORMATION ABOUT THE PROGRAMME “It’s
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Event Details
PROGRAMME
Bohuslav Martinů: »Les fresques de Piero della Francesca«
Jean Sibelius: Violin Concerto in D Minor, Op. 47
Interval
Bohuslav Martinů: Symphony No. 1
Jakub Hrůša, Conductor
Lisa Batiashvili, Violin
Symphonieorchester des Bayerischen Rundfunks
INFORMATION ABOUT THE PROGRAMME
“It’s wonderful to play Martinů. He’s a composer who immediately appeals to everyone, musicians and audiences alike. The moment his music appears on a programme, it’s a success.” Today hardly anyone is a more qualified Martinů conductor than Jakub Hrůša. The two works he’s bringing to Munich display two different aspects of this Czech composer: the propulsive rhythms of his native folk music that pervade the First Symphony (1942), and the almost impressionist mysticism of Les fresques de Piero della Francesca (1955). The latter piece, composed under the influence of Piero’s fresco series The Legend of the True Cross in San Francesco, Arezzo, received its world première at the Salzburg Festival under Rafael Kubelík, later to become the BRSO’s principal conductor. Our other guest is no less acclaimed than Maestro Hrůša: the Munich-based Georgian violinist Lisa Batiashvili, featured this time in the magnificent Sibelius concerto.
Time
(Saturday) 7:00 pm
Location
Isarphilharmonie
Hans-Preißinger-Straße 8, 81379 München, Germany

Event Details
PROGRAMME Bohuslav Martinů: »Les fresques de Piero della Francesca« Jean Sibelius: Violin Concerto in D Minor, Op. 47 Interval Bohuslav Martinů: Symphony No. 1 Jakub Hrůša, Conductor Lisa Batiashvili, Violin Symphonieorchester des Bayerischen Rundfunks INFORMATION ABOUT THE PROGRAMME “It’s
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Event Details
PROGRAMME
Bohuslav Martinů: »Les fresques de Piero della Francesca«
Jean Sibelius: Violin Concerto in D Minor, Op. 47
Interval
Bohuslav Martinů: Symphony No. 1
Jakub Hrůša, Conductor
Lisa Batiashvili, Violin
Symphonieorchester des Bayerischen Rundfunks
INFORMATION ABOUT THE PROGRAMME
“It’s wonderful to play Martinů. He’s a composer who immediately appeals to everyone, musicians and audiences alike. The moment his music appears on a programme, it’s a success.” Today hardly anyone is a more qualified Martinů conductor than Jakub Hrůša. The two works he’s bringing to Munich display two different aspects of this Czech composer: the propulsive rhythms of his native folk music that pervade the First Symphony (1942), and the almost impressionist mysticism of Les fresques de Piero della Francesca (1955). The latter piece, composed under the influence of Piero’s fresco series The Legend of the True Cross in San Francesco, Arezzo, received its world première at the Salzburg Festival under Rafael Kubelík, later to become the BRSO’s principal conductor. Our other guest is no less acclaimed than Maestro Hrůša: the Munich-based Georgian violinist Lisa Batiashvili, featured this time in the magnificent Sibelius concerto.
Time
(Friday) 8:00 pm
Location
Isarphilharmonie
Hans-Preißinger-Straße 8, 81379 München, Germany

Event Details
PROGRAMME Bohuslav Martinů: »Les fresques de Piero della Francesca« Jean Sibelius: Violin Concerto in D Minor, Op. 47 Interval Bohuslav Martinů: Symphony No. 1 Jakub Hrůša, Conductor Lisa Batiashvili, Violin Symphonieorchester des Bayerischen Rundfunks INFORMATION ABOUT THE PROGRAMME “It’s
more
Event Details
PROGRAMME
Bohuslav Martinů: »Les fresques de Piero della Francesca«
Jean Sibelius: Violin Concerto in D Minor, Op. 47
Interval
Bohuslav Martinů: Symphony No. 1
Jakub Hrůša, Conductor
Lisa Batiashvili, Violin
Symphonieorchester des Bayerischen Rundfunks
INFORMATION ABOUT THE PROGRAMME
“It’s wonderful to play Martinů. He’s a composer who immediately appeals to everyone, musicians and audiences alike. The moment his music appears on a programme, it’s a success.” Today hardly anyone is a more qualified Martinů conductor than Jakub Hrůša. The two works he’s bringing to Munich display two different aspects of this Czech composer: the propulsive rhythms of his native folk music that pervade the First Symphony (1942), and the almost impressionist mysticism of Les fresques de Piero della Francesca (1955). The latter piece, composed under the influence of Piero’s fresco series The Legend of the True Cross in San Francesco, Arezzo, received its world première at the Salzburg Festival under Rafael Kubelík, later to become the BRSO’s principal conductor. Our other guest is no less acclaimed than Maestro Hrůša: the Munich-based Georgian violinist Lisa Batiashvili, featured this time in the magnificent Sibelius concerto.
Time
(Thursday) 8:00 pm
Location
Isarphilharmonie
Hans-Preißinger-Straße 8, 81379 München, Germany
december 2022

Event Details
Performing with, Daniel Mikolášek, marimba Leonidas Kavakos, violin Band of the Castle Guards and the Police of the Czech Republic Programme Jaroslav Krček Symphony No. 7, Op. 153 for symphony orchestra and concertante marimba (world
Event Details
Performing with,
Daniel Mikolášek, marimba
Leonidas Kavakos, violin
Band of the Castle Guards and the Police of the Czech Republic
Programme
Jaroslav Krček
Symphony No. 7, Op. 153 for symphony orchestra and concertante marimba (world premiere)
Bohuslav Martinů
Violin Concerto No. 2, H 293
Leoš Janáček
Sinfonietta
Time
(Friday) 7:30 pm
Location
Rudolfinum Dvorak Hall

Event Details
Performing with, Daniel Mikolášek, marimba Leonidas Kavakos, violin Band of the Castle Guards and the Police of the Czech Republic Programme Jaroslav Krček Symphony No. 7, Op. 153 for symphony orchestra and concertante marimba (world
Event Details
Performing with,
Daniel Mikolášek, marimba
Leonidas Kavakos, violin
Band of the Castle Guards and the Police of the Czech Republic
Programme
Jaroslav Krček
Symphony No. 7, Op. 153 for symphony orchestra and concertante marimba (world premiere)
Bohuslav Martinů
Violin Concerto No. 2, H 293
Leoš Janáček
Sinfonietta
Time
(Thursday) 7:30 pm
Location
Rudolfinum Dvorak Hall

Event Details
Performing with, Daniel Mikolášek, marimba Leonidas Kavakos, violin Band of the Castle Guards and the Police of the Czech Republic Programme Jaroslav Krček Symphony No. 7, Op. 153 for symphony orchestra and concertante marimba (world
Event Details
Performing with,
Daniel Mikolášek, marimba
Leonidas Kavakos, violin
Band of the Castle Guards and the Police of the Czech Republic
Programme
Jaroslav Krček
Symphony No. 7, Op. 153 for symphony orchestra and concertante marimba (world premiere)
Bohuslav Martinů
Violin Concerto No. 2, H 293
Leoš Janáček
Sinfonietta
Time
(Wednesday) 7:30 pm
Location
Rudolfinum Dvorak Hall

Event Details
Performing with, Sol Gabetta, violoncello Programme Edward Elgar Konzert für Violoncello und Orchester e-Moll op. 85 Johannes Brahms Symphonie Nr. 4 e-Moll op. 98
Event Details
Performing with,
Sol Gabetta, violoncello
Programme
Edward Elgar Konzert für Violoncello und Orchester e-Moll op. 85
Johannes Brahms Symphonie Nr. 4 e-Moll op. 98
Time
(Friday) 8:00 pm
Location
KKL Luzern, Concert Hall
Europaplatz 1, 6005 Luzern, Switzerland

Event Details
Performing with, Sol Gabetta, violoncello Programme Edward Elgar Konzert für Violoncello und Orchester e-Moll op. 85 Johannes Brahms Symphonie Nr. 4 e-Moll op. 98
Event Details
Performing with,
Sol Gabetta, violoncello
Programme
Edward Elgar Konzert für Violoncello und Orchester e-Moll op. 85
Johannes Brahms Symphonie Nr. 4 e-Moll op. 98
Time
(Thursday) 5:00 pm
Location
KKL Luzern, Concert Hall
Europaplatz 1, 6005 Luzern, Switzerland
november 2022
30nov7:30 pmWien, Austria - Vienna Philharmonic - Rachmaninov, Lutosławski7:30 pm Musikverein Wien

Event Details
Performing with, Evgeny Kissin, piano Programme Sergej Rachmaninov Piano Concerto No. 3 in D minor, op. 30 Witold Lutosławski Konzert für Orchester
Event Details
Performing with,
Evgeny Kissin, piano
Programme
Sergej Rachmaninov Piano Concerto No. 3 in D minor, op. 30
Witold Lutosławski Konzert für Orchester
Time
(Wednesday) 7:30 pm
Location
Musikverein Wien
Musikvereinspl. 1, 1010 Wien, Austria
27nov11:00 amWien, Austria - Vienna Philharmonic - Rachmaninov, Lutosławski11:00 am Musikverein Wien

Event Details
Performing with, Evgeny Kissin, piano Programme Sergej Rachmaninov Piano Concerto No. 3 in D minor, op. 30 Witold Lutosławski Konzert für Orchester
Event Details
Performing with,
Evgeny Kissin, piano
Programme
Sergej Rachmaninov Piano Concerto No. 3 in D minor, op. 30
Witold Lutosławski Konzert für Orchester
Time
(Sunday) 11:00 am
Location
Musikverein Wien
Musikvereinspl. 1, 1010 Wien, Austria
27nov11:00 amWien, Austria - Vienna Philharmonic - Rachmaninov, Lutosławski11:00 am Musikverein Wien

Event Details
Performing with, Evgeny Kissin, piano Programme Sergej Rachmaninov Piano Concerto No. 3 in D minor, op. 30 Witold Lutosławski Konzert für Orchester
Event Details
Performing with,
Evgeny Kissin, piano
Programme
Sergej Rachmaninov Piano Concerto No. 3 in D minor, op. 30
Witold Lutosławski Konzert für Orchester
Time
(Sunday) 11:00 am
Location
Musikverein Wien
Musikvereinspl. 1, 1010 Wien, Austria
26nov3:30 pmWien, Austria - Vienna Philharmonic - Rachmaninov, Lutosławski3:30 pm Musikverein Wien

Event Details
Performing with, Evgeny Kissin, piano Programme Sergej Rachmaninov Piano Concerto No. 3 in D minor, op. 30 Witold Lutosławski Konzert für Orchester
Event Details
Performing with,
Evgeny Kissin, piano
Programme
Sergej Rachmaninov Piano Concerto No. 3 in D minor, op. 30
Witold Lutosławski Konzert für Orchester
Time
(Saturday) 3:30 pm
Location
Musikverein Wien
Musikvereinspl. 1, 1010 Wien, Austria

Event Details
Performing with, Karen Gomyo, violin Programme Felix Mendelssohn Bartholdy Konzert für Violine und Orchester e-Moll op. 64 Anton Bruckner Symphonie Nr. 9 d-Moll
Event Details
Performing with,
Karen Gomyo, violin
Programme
Felix Mendelssohn Bartholdy Konzert für Violine und Orchester e-Moll op. 64
Anton Bruckner Symphonie Nr. 9 d-Moll
Time
(Sunday) 8:00 pm
Location
Isarphilharmonie
Hans-Preißinger-Straße 8, 81379 München, Germany

Event Details
Performing with, Christina Landshamer, Soprano Konstantin Krimmel, Baritone Programme Johannes Brahms A German Requiem op. 45
Event Details
Performing with,
Christina Landshamer, Soprano
Konstantin Krimmel, Baritone
Programme
Johannes Brahms A German Requiem op. 45
Time
(Saturday) 9:00 pm
Location
Basilica Papale San Paolo fuori le Mura
Piazzale San Paolo, 1, 00146 Roma RM, Italy
06nov7:00 pmBrno, Czech Republic - Janáček Theatre7:00 pm Janáček Theatre

Event Details
Programme Glagolitic Mass / From the House of the Dead
Event Details
Programme
Glagolitic Mass / From the House of the Dead
Time
(Sunday) 7:00 pm
Location
Janáček Theatre
Rooseveltova 31, 602 00 Brno-střed, Czechia
03nov7:00 pmBrno, Czech Republic - Janáček Theatre7:00 pm Janáček Theatre

Event Details
Programme Glagolitic Mass / From the House of the Dead
Event Details
Programme
Glagolitic Mass / From the House of the Dead
Time
(Thursday) 7:00 pm
Location
Janáček Theatre
Rooseveltova 31, 602 00 Brno-střed, Czechia
02nov7:00 pmBrno, Czech Republic - Janáček Theatre7:00 pm Janáček Theatre

Event Details
Programme Glagolitic Mass / From the House of the Dead
Event Details
Programme
Glagolitic Mass / From the House of the Dead
Time
(Wednesday) 7:00 pm
Location
Janáček Theatre
Rooseveltova 31, 602 00 Brno-střed, Czechia
october 2022

Event Details
Performing with, Ivo KAHÁNEK, piano Programme Sergei RACHMANINOV Piano Concerto No. 3 in D minor. Op. 30 Zdeněk FIBICH Symphony No. 1 in F major, Op. 17
Event Details
Performing with,
Ivo KAHÁNEK, piano
Programme
Sergei RACHMANINOV
Piano Concerto No. 3 in D minor. Op. 30
Zdeněk FIBICH
Symphony No. 1 in F major, Op. 17
Time
(Thursday) 7:00 pm
Location
Zlín Congress Centre

Event Details
Performing with, Mitsuko Uchida, piano Programme Bernd Richard Deutsch »Phantasma« for orchestra (world premiere, commissioned by the Bamberg Symphony Orchestra with the Cleveland Orchestra, Royal Concertgebouw Orchestra, Royal Liverpool Philharmonic Orchestra) Richard Strauss Also
Event Details
Performing with,
Mitsuko Uchida, piano
Programme
Bernd Richard Deutsch »Phantasma« for orchestra (world premiere, commissioned by the Bamberg Symphony Orchestra with the Cleveland Orchestra, Royal Concertgebouw Orchestra, Royal Liverpool Philharmonic Orchestra)
Richard Strauss Also Sprach Zarathustra
Ludwig van Beethoven Concerto for Piano and Orchestra No. 5 in E flat major op. 73
Time
(Sunday) 8:00 pm
Location
Alte Oper Frankfurt

Event Details
Performing with, Mitsuko Uchida, piano Programme Bernd Richard Deutsch »Phantasma« for orchestra (world premiere, commissioned by the Bamberg Symphony Orchestra with the Cleveland Orchestra, Royal Concertgebouw Orchestra, Royal Liverpool Philharmonic Orchestra) Richard Strauss Also
Event Details
Performing with,
Mitsuko Uchida, piano
Programme
Bernd Richard Deutsch »Phantasma« for orchestra (world premiere, commissioned by the Bamberg Symphony Orchestra with the Cleveland Orchestra, Royal Concertgebouw Orchestra, Royal Liverpool Philharmonic Orchestra)
Richard Strauss Also Sprach Zarathustra
Ludwig van Beethoven Concerto for Piano and Orchestra No. 5 in E flat major op. 73
Time
(Friday) 8:00 pm
Location
Konzerthalle Bamberg Joseph-Keilberth-Saal
Mußstraße 1, 96047 Bamberg, Germany

Event Details
Performing with, Mitsuko Uchida, piano Programme Bernd Richard Deutsch »Phantasma« for orchestra (world premiere, commissioned by the Bamberg Symphony Orchestra with the Cleveland Orchestra, Royal Concertgebouw Orchestra, Royal Liverpool Philharmonic Orchestra) Richard Strauss Also
Event Details
Performing with,
Mitsuko Uchida, piano
Programme
Bernd Richard Deutsch »Phantasma« for orchestra (world premiere, commissioned by the Bamberg Symphony Orchestra with the Cleveland Orchestra, Royal Concertgebouw Orchestra, Royal Liverpool Philharmonic Orchestra)
Richard Strauss Also Sprach Zarathustra
Ludwig van Beethoven Concerto for Piano and Orchestra No. 5 in E flat major op. 73
Time
(Thursday) 8:00 pm
Location
Konzerthalle Bamberg Joseph-Keilberth-Saal
Mußstraße 1, 96047 Bamberg, Germany
september 2022

Event Details
Performing with, Frank Peter Zimmermann, violin Programme Richard Strauss Also sprach Zarathustra Igor Stravinsky Concerto for Violin and Orchestra in D major Richard Wagner Overture to »Tannhäuser«
Event Details
Performing with,
Frank Peter Zimmermann, violin
Programme
Richard Strauss Also sprach Zarathustra
Igor Stravinsky Concerto for Violin and Orchestra in D major
Richard Wagner Overture to »Tannhäuser«
Time
(Friday) 8:00 pm
Location
Konzerthalle Bamberg Joseph-Keilberth-Saal
Mußstraße 1, 96047 Bamberg, Germany

Event Details
Programme György Ligeti Lontano Anton Bruckner Symphonie No. 9 in d-Moll
Event Details
Programme
György Ligeti Lontano
Anton Bruckner Symphonie No. 9 in d-Moll
Time
(Thursday) 8:00 pm
Location
Saint Bavo's Cathedral
Sint-Baafsplein, 9000 Gent, Belgium
21sep8:00 pmOdenthal, Germany - Bamberg Symphony Orchestra - Ligeti, Bruckner8:00 pm Altenberger Dom

Event Details
Programme György Ligeti Lontano Anton Bruckner Symphonie No. 9 in d-Moll
Event Details
Programme
György Ligeti Lontano
Anton Bruckner Symphonie No. 9 in d-Moll
Time
(Wednesday) 8:00 pm
Location
Altenberger Dom
Eugen-Heinen-Platz 2, 51519 Odenthal, Germany

Event Details
Performing with, Joélle Harvey, Soprano Programme Richard Wagner (1813–1883) Prelude to Act One and Isolde’s Liebestod from Tristan and Isolde Alma Mahler (1879–1964) Five Songs: The Quiet City In My Father’s Garden Mild Summer Night It’s Sweet With
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Event Details
Performing with,
Joélle Harvey, Soprano
Programme
Richard Wagner (1813–1883)
Prelude to Act One and Isolde’s Liebestod from Tristan and Isolde
Alma Mahler (1879–1964)
Five Songs:
The Quiet City
In My Father’s Garden
Mild Summer Night
It’s Sweet With You
I Walk Among Flowers
Gustav Mahler ( 1860–1911)
Symphony No. 4 in G major
Time
(Saturday) 6:30 pm
Location
KKL Luzern, Concert Hall
Europaplatz 1, 6005 Luzern, Switzerland
august 2022

Event Details
Jakub Hrůša Conductor Barrie Kosky Director Rufus Didwiszus Sets Victoria Behr Costumes Franck Evin Lighting Christian Arseni Dramaturgy CAST Jens Larsen Savjol Prokofjevič Dikoj David Butt Philip Boris Grigorjevič Evelyn Herlitzius Marfa Ignatěvna
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Event Details
Jakub Hrůša Conductor
Barrie Kosky Director
Rufus Didwiszus Sets
Victoria Behr Costumes
Franck Evin Lighting
Christian Arseni Dramaturgy
CAST
Jens Larsen Savjol Prokofjevič Dikoj
David Butt Philip Boris Grigorjevič
Evelyn Herlitzius Marfa Ignatěvna Kabanová (Kabanicha)
Jaroslav Březina Tichon Ivanyč Kabanov
Corinne Winters Katěrina (Káťa)
Benjamin Hulett Váňa Kudrjáš
Jarmila Balážová Varvara
Michael Mofidian Kuligin
Concert Association of the Vienna State Opera Chorus
Huw Rhys James Chorus Master
Vienna Philharmonic
‘I lived free like a bird’: Káťa Kabanová confides wistfully to her sister-in-law Varvara how different her life used to be. She tells her how during mass at church she experienced celestial visions that moved her to tears, and how she had dreams of soaring high into the sky. The luminous, increasingly ecstatic music to which Janáček sets Káťa’s reminiscences reveals not only the figure’s rich interior life but also an irrepressible urge for freedom. But since her marriage to Tichon the fire within Káťa is at risk of being smothered entirely. The situation she lives in is claustrophobic. Home is ruled despotically by her mother-in-law Kabanicha, the widow of a merchant. Conscious of material dependencies and in the name of tradition and morals, she makes sure that the required subservience is shown by woman to husband and young to old. Ground down by his mother’s constant carping, Tichon lacks the independence to be able to give his wife what she needs and seeks refuge in alcohol. When he departs on a journey for a few days, Varvara, who is aware of the mutual attraction between Káťa and the unmarried Boris, arranges a first night-time tryst for them. This uncaps all Káťa’s pent-up emotions: behind the desperate intensity with which she gives herself to Boris erupt needs that go far beyond a yearning for fulfilled love or shared passion. To Káťa, to go on living now seems more impossible than ever.
Leoš Janáček forged the libretto to Káťa Kabanová from a Czech translation of Alexander Ostrovsky’s play The Storm (1859), which is set in a small-town milieu dominated by wealthy merchants in mid-19th century Russia. Janáček dispensed with many of the specific socio-historical details — and thus also a substantial part of the concrete social criticism that characterizes Ostrovsky’s play. The opera concentrates on the protagonist and the individuals who directly determine her fate. Yet beyond the microcosm of the family, the social environment remains a palpable determining factor.
We are in a village or small town where a traditional value system, as upheld by Kabanicha, has degenerated into repressive convention. An atmosphere of coldness and torpor prevails, colliding with any desire for individual realization or true enjoyment of life. At the same time, the conflict in which Káťa finds herself through her relationship with Boris is an internal one, as she has made the moral yardsticks of her environment so much her own that a crisis of conscience is inevitable. Káťa articulates little of what motivates or oppresses her, or what she yearns for, and is perhaps largely unaware of it — something that makes the figure so true-to-life — but hypocrisy is foreign to her. Unlike Varvara and her lover Kudrjáš, she is unable to blithely disregard internalized moral norms. Even in Act I, the memory of her dreams of flying suddenly turns into panicstricken fear of the ‘sin’ into which desire for another man threatens to plunge her. In Act III, as a storm rages (outdoors as well as inside Káťa), her feelings of guilt impel her to confess to the undiscovered betrayal of her marriage. Káťa is imprisoned in a society in which she cannot exist; she will ultimately choose death over this mental and spiritual violation.
Janáček brings to his portrayal of Káťa the sympathy and subtle sensitivity that he devotes — eschewing all stereotypes — to all his major female figures. First performed in Brno in 1921, Káťa Kabanová marks the beginning of the composer’s final, extraordinarily productive decade. Janáček had now found his unmistakable language as a musical dramatist — a language that conveys the characters and situations, psychology and atmosphere in highly concentrated form, and in its naked immediacy and power gets directly under the listener’s skin.
Christian Arseni
Translation: Sophie Kidd
Time
(Monday) 6:30 pm
Location
Salzburg Felsenreitschule
Felsenreitschule, Hofstallgasse 1, 5020 Salzburg, Austria

Event Details
Jakub Hrůša Conductor Barrie Kosky Director Rufus Didwiszus Sets Victoria Behr Costumes Franck Evin Lighting Christian Arseni Dramaturgy CAST Jens Larsen Savjol Prokofjevič Dikoj David Butt Philip Boris Grigorjevič Evelyn Herlitzius Marfa Ignatěvna
more
Event Details
Jakub Hrůša Conductor
Barrie Kosky Director
Rufus Didwiszus Sets
Victoria Behr Costumes
Franck Evin Lighting
Christian Arseni Dramaturgy
CAST
Jens Larsen Savjol Prokofjevič Dikoj
David Butt Philip Boris Grigorjevič
Evelyn Herlitzius Marfa Ignatěvna Kabanová (Kabanicha)
Jaroslav Březina Tichon Ivanyč Kabanov
Corinne Winters Katěrina (Káťa)
Benjamin Hulett Váňa Kudrjáš
Jarmila Balážová Varvara
Michael Mofidian Kuligin
Concert Association of the Vienna State Opera Chorus
Huw Rhys James Chorus Master
Vienna Philharmonic
‘I lived free like a bird’: Káťa Kabanová confides wistfully to her sister-in-law Varvara how different her life used to be. She tells her how during mass at church she experienced celestial visions that moved her to tears, and how she had dreams of soaring high into the sky. The luminous, increasingly ecstatic music to which Janáček sets Káťa’s reminiscences reveals not only the figure’s rich interior life but also an irrepressible urge for freedom. But since her marriage to Tichon the fire within Káťa is at risk of being smothered entirely. The situation she lives in is claustrophobic. Home is ruled despotically by her mother-in-law Kabanicha, the widow of a merchant. Conscious of material dependencies and in the name of tradition and morals, she makes sure that the required subservience is shown by woman to husband and young to old. Ground down by his mother’s constant carping, Tichon lacks the independence to be able to give his wife what she needs and seeks refuge in alcohol. When he departs on a journey for a few days, Varvara, who is aware of the mutual attraction between Káťa and the unmarried Boris, arranges a first night-time tryst for them. This uncaps all Káťa’s pent-up emotions: behind the desperate intensity with which she gives herself to Boris erupt needs that go far beyond a yearning for fulfilled love or shared passion. To Káťa, to go on living now seems more impossible than ever.
Leoš Janáček forged the libretto to Káťa Kabanová from a Czech translation of Alexander Ostrovsky’s play The Storm (1859), which is set in a small-town milieu dominated by wealthy merchants in mid-19th century Russia. Janáček dispensed with many of the specific socio-historical details — and thus also a substantial part of the concrete social criticism that characterizes Ostrovsky’s play. The opera concentrates on the protagonist and the individuals who directly determine her fate. Yet beyond the microcosm of the family, the social environment remains a palpable determining factor.
We are in a village or small town where a traditional value system, as upheld by Kabanicha, has degenerated into repressive convention. An atmosphere of coldness and torpor prevails, colliding with any desire for individual realization or true enjoyment of life. At the same time, the conflict in which Káťa finds herself through her relationship with Boris is an internal one, as she has made the moral yardsticks of her environment so much her own that a crisis of conscience is inevitable. Káťa articulates little of what motivates or oppresses her, or what she yearns for, and is perhaps largely unaware of it — something that makes the figure so true-to-life — but hypocrisy is foreign to her. Unlike Varvara and her lover Kudrjáš, she is unable to blithely disregard internalized moral norms. Even in Act I, the memory of her dreams of flying suddenly turns into panicstricken fear of the ‘sin’ into which desire for another man threatens to plunge her. In Act III, as a storm rages (outdoors as well as inside Káťa), her feelings of guilt impel her to confess to the undiscovered betrayal of her marriage. Káťa is imprisoned in a society in which she cannot exist; she will ultimately choose death over this mental and spiritual violation.
Janáček brings to his portrayal of Káťa the sympathy and subtle sensitivity that he devotes — eschewing all stereotypes — to all his major female figures. First performed in Brno in 1921, Káťa Kabanová marks the beginning of the composer’s final, extraordinarily productive decade. Janáček had now found his unmistakable language as a musical dramatist — a language that conveys the characters and situations, psychology and atmosphere in highly concentrated form, and in its naked immediacy and power gets directly under the listener’s skin.
Christian Arseni
Translation: Sophie Kidd
Time
(Friday) 6:00 pm
Location
Salzburg Felsenreitschule
Felsenreitschule, Hofstallgasse 1, 5020 Salzburg, Austria

Event Details
Jakub Hrůša Conductor Barrie Kosky Director Rufus Didwiszus Sets Victoria Behr Costumes Franck Evin Lighting Christian Arseni Dramaturgy CAST Jens Larsen Savjol Prokofjevič Dikoj David Butt Philip Boris Grigorjevič Evelyn Herlitzius Marfa Ignatěvna
more
Event Details
Jakub Hrůša Conductor
Barrie Kosky Director
Rufus Didwiszus Sets
Victoria Behr Costumes
Franck Evin Lighting
Christian Arseni Dramaturgy
CAST
Jens Larsen Savjol Prokofjevič Dikoj
David Butt Philip Boris Grigorjevič
Evelyn Herlitzius Marfa Ignatěvna Kabanová (Kabanicha)
Jaroslav Březina Tichon Ivanyč Kabanov
Corinne Winters Katěrina (Káťa)
Benjamin Hulett Váňa Kudrjáš
Jarmila Balážová Varvara
Michael Mofidian Kuligin
Concert Association of the Vienna State Opera Chorus
Huw Rhys James Chorus Master
Vienna Philharmonic
‘I lived free like a bird’: Káťa Kabanová confides wistfully to her sister-in-law Varvara how different her life used to be. She tells her how during mass at church she experienced celestial visions that moved her to tears, and how she had dreams of soaring high into the sky. The luminous, increasingly ecstatic music to which Janáček sets Káťa’s reminiscences reveals not only the figure’s rich interior life but also an irrepressible urge for freedom. But since her marriage to Tichon the fire within Káťa is at risk of being smothered entirely. The situation she lives in is claustrophobic. Home is ruled despotically by her mother-in-law Kabanicha, the widow of a merchant. Conscious of material dependencies and in the name of tradition and morals, she makes sure that the required subservience is shown by woman to husband and young to old. Ground down by his mother’s constant carping, Tichon lacks the independence to be able to give his wife what she needs and seeks refuge in alcohol. When he departs on a journey for a few days, Varvara, who is aware of the mutual attraction between Káťa and the unmarried Boris, arranges a first night-time tryst for them. This uncaps all Káťa’s pent-up emotions: behind the desperate intensity with which she gives herself to Boris erupt needs that go far beyond a yearning for fulfilled love or shared passion. To Káťa, to go on living now seems more impossible than ever.
Leoš Janáček forged the libretto to Káťa Kabanová from a Czech translation of Alexander Ostrovsky’s play The Storm (1859), which is set in a small-town milieu dominated by wealthy merchants in mid-19th century Russia. Janáček dispensed with many of the specific socio-historical details — and thus also a substantial part of the concrete social criticism that characterizes Ostrovsky’s play. The opera concentrates on the protagonist and the individuals who directly determine her fate. Yet beyond the microcosm of the family, the social environment remains a palpable determining factor.
We are in a village or small town where a traditional value system, as upheld by Kabanicha, has degenerated into repressive convention. An atmosphere of coldness and torpor prevails, colliding with any desire for individual realization or true enjoyment of life. At the same time, the conflict in which Káťa finds herself through her relationship with Boris is an internal one, as she has made the moral yardsticks of her environment so much her own that a crisis of conscience is inevitable. Káťa articulates little of what motivates or oppresses her, or what she yearns for, and is perhaps largely unaware of it — something that makes the figure so true-to-life — but hypocrisy is foreign to her. Unlike Varvara and her lover Kudrjáš, she is unable to blithely disregard internalized moral norms. Even in Act I, the memory of her dreams of flying suddenly turns into panicstricken fear of the ‘sin’ into which desire for another man threatens to plunge her. In Act III, as a storm rages (outdoors as well as inside Káťa), her feelings of guilt impel her to confess to the undiscovered betrayal of her marriage. Káťa is imprisoned in a society in which she cannot exist; she will ultimately choose death over this mental and spiritual violation.
Janáček brings to his portrayal of Káťa the sympathy and subtle sensitivity that he devotes — eschewing all stereotypes — to all his major female figures. First performed in Brno in 1921, Káťa Kabanová marks the beginning of the composer’s final, extraordinarily productive decade. Janáček had now found his unmistakable language as a musical dramatist — a language that conveys the characters and situations, psychology and atmosphere in highly concentrated form, and in its naked immediacy and power gets directly under the listener’s skin.
Christian Arseni
Translation: Sophie Kidd
Time
(Sunday) 3:00 pm
Location
Salzburg Felsenreitschule
Felsenreitschule, Hofstallgasse 1, 5020 Salzburg, Austria
19aug7:30 pmLucerne, Switzerland - Lucerne Festival - Suk, Dvořák7:30 pm KKL Luzern, Concert Hall

Event Details
Jakub Hrůša, conductor Augustin Hadelich, violin Lucerne Festival Orchestra Programme: Josef Suk (1874–1935) Scherzo fantastique, Op. 25 Antonín Dvořák (1841–1904) Violin Concerto in A minor, Op. 53 Symphony No. 9 in E minor, Op.
Event Details
Jakub Hrůša, conductor
Augustin Hadelich, violin
Lucerne Festival Orchestra
Programme:
Josef Suk (1874–1935)
Scherzo fantastique, Op. 25
Antonín Dvořák (1841–1904)
Violin Concerto in A minor, Op. 53
Symphony No. 9 in E minor, Op. 95 From the New World
Time
(Friday) 7:30 pm
Location
KKL Luzern, Concert Hall
Europaplatz 1, 6005 Luzern, Switzerland

Event Details
Jakub Hrůša Conductor Barrie Kosky Director Rufus Didwiszus Sets Victoria Behr Costumes Franck Evin Lighting Christian Arseni Dramaturgy CAST Jens Larsen Savjol Prokofjevič Dikoj David Butt Philip Boris Grigorjevič Evelyn Herlitzius Marfa Ignatěvna
more
Event Details
Jakub Hrůša Conductor
Barrie Kosky Director
Rufus Didwiszus Sets
Victoria Behr Costumes
Franck Evin Lighting
Christian Arseni Dramaturgy
CAST
Jens Larsen Savjol Prokofjevič Dikoj
David Butt Philip Boris Grigorjevič
Evelyn Herlitzius Marfa Ignatěvna Kabanová (Kabanicha)
Jaroslav Březina Tichon Ivanyč Kabanov
Corinne Winters Katěrina (Káťa)
Benjamin Hulett Váňa Kudrjáš
Jarmila Balážová Varvara
Michael Mofidian Kuligin
Concert Association of the Vienna State Opera Chorus
Huw Rhys James Chorus Master
Vienna Philharmonic
‘I lived free like a bird’: Káťa Kabanová confides wistfully to her sister-in-law Varvara how different her life used to be. She tells her how during mass at church she experienced celestial visions that moved her to tears, and how she had dreams of soaring high into the sky. The luminous, increasingly ecstatic music to which Janáček sets Káťa’s reminiscences reveals not only the figure’s rich interior life but also an irrepressible urge for freedom. But since her marriage to Tichon the fire within Káťa is at risk of being smothered entirely. The situation she lives in is claustrophobic. Home is ruled despotically by her mother-in-law Kabanicha, the widow of a merchant. Conscious of material dependencies and in the name of tradition and morals, she makes sure that the required subservience is shown by woman to husband and young to old. Ground down by his mother’s constant carping, Tichon lacks the independence to be able to give his wife what she needs and seeks refuge in alcohol. When he departs on a journey for a few days, Varvara, who is aware of the mutual attraction between Káťa and the unmarried Boris, arranges a first night-time tryst for them. This uncaps all Káťa’s pent-up emotions: behind the desperate intensity with which she gives herself to Boris erupt needs that go far beyond a yearning for fulfilled love or shared passion. To Káťa, to go on living now seems more impossible than ever.
Leoš Janáček forged the libretto to Káťa Kabanová from a Czech translation of Alexander Ostrovsky’s play The Storm (1859), which is set in a small-town milieu dominated by wealthy merchants in mid-19th century Russia. Janáček dispensed with many of the specific socio-historical details — and thus also a substantial part of the concrete social criticism that characterizes Ostrovsky’s play. The opera concentrates on the protagonist and the individuals who directly determine her fate. Yet beyond the microcosm of the family, the social environment remains a palpable determining factor.
We are in a village or small town where a traditional value system, as upheld by Kabanicha, has degenerated into repressive convention. An atmosphere of coldness and torpor prevails, colliding with any desire for individual realization or true enjoyment of life. At the same time, the conflict in which Káťa finds herself through her relationship with Boris is an internal one, as she has made the moral yardsticks of her environment so much her own that a crisis of conscience is inevitable. Káťa articulates little of what motivates or oppresses her, or what she yearns for, and is perhaps largely unaware of it — something that makes the figure so true-to-life — but hypocrisy is foreign to her. Unlike Varvara and her lover Kudrjáš, she is unable to blithely disregard internalized moral norms. Even in Act I, the memory of her dreams of flying suddenly turns into panicstricken fear of the ‘sin’ into which desire for another man threatens to plunge her. In Act III, as a storm rages (outdoors as well as inside Káťa), her feelings of guilt impel her to confess to the undiscovered betrayal of her marriage. Káťa is imprisoned in a society in which she cannot exist; she will ultimately choose death over this mental and spiritual violation.
Janáček brings to his portrayal of Káťa the sympathy and subtle sensitivity that he devotes — eschewing all stereotypes — to all his major female figures. First performed in Brno in 1921, Káťa Kabanová marks the beginning of the composer’s final, extraordinarily productive decade. Janáček had now found his unmistakable language as a musical dramatist — a language that conveys the characters and situations, psychology and atmosphere in highly concentrated form, and in its naked immediacy and power gets directly under the listener’s skin.
Christian Arseni
Translation: Sophie Kidd
Time
(Sunday) 8:00 pm
Location
Salzburg Felsenreitschule
Felsenreitschule, Hofstallgasse 1, 5020 Salzburg, Austria

Event Details
Jakub Hrůša Conductor Barrie Kosky Director Rufus Didwiszus Sets Victoria Behr Costumes Franck Evin Lighting Christian Arseni Dramaturgy CAST Jens Larsen Savjol Prokofjevič Dikoj David Butt Philip Boris Grigorjevič Evelyn Herlitzius Marfa Ignatěvna
more
Event Details
Jakub Hrůša Conductor
Barrie Kosky Director
Rufus Didwiszus Sets
Victoria Behr Costumes
Franck Evin Lighting
Christian Arseni Dramaturgy
CAST
Jens Larsen Savjol Prokofjevič Dikoj
David Butt Philip Boris Grigorjevič
Evelyn Herlitzius Marfa Ignatěvna Kabanová (Kabanicha)
Jaroslav Březina Tichon Ivanyč Kabanov
Corinne Winters Katěrina (Káťa)
Benjamin Hulett Váňa Kudrjáš
Jarmila Balážová Varvara
Michael Mofidian Kuligin
Concert Association of the Vienna State Opera Chorus
Huw Rhys James Chorus Master
Vienna Philharmonic
‘I lived free like a bird’: Káťa Kabanová confides wistfully to her sister-in-law Varvara how different her life used to be. She tells her how during mass at church she experienced celestial visions that moved her to tears, and how she had dreams of soaring high into the sky. The luminous, increasingly ecstatic music to which Janáček sets Káťa’s reminiscences reveals not only the figure’s rich interior life but also an irrepressible urge for freedom. But since her marriage to Tichon the fire within Káťa is at risk of being smothered entirely. The situation she lives in is claustrophobic. Home is ruled despotically by her mother-in-law Kabanicha, the widow of a merchant. Conscious of material dependencies and in the name of tradition and morals, she makes sure that the required subservience is shown by woman to husband and young to old. Ground down by his mother’s constant carping, Tichon lacks the independence to be able to give his wife what she needs and seeks refuge in alcohol. When he departs on a journey for a few days, Varvara, who is aware of the mutual attraction between Káťa and the unmarried Boris, arranges a first night-time tryst for them. This uncaps all Káťa’s pent-up emotions: behind the desperate intensity with which she gives herself to Boris erupt needs that go far beyond a yearning for fulfilled love or shared passion. To Káťa, to go on living now seems more impossible than ever.
Leoš Janáček forged the libretto to Káťa Kabanová from a Czech translation of Alexander Ostrovsky’s play The Storm (1859), which is set in a small-town milieu dominated by wealthy merchants in mid-19th century Russia. Janáček dispensed with many of the specific socio-historical details — and thus also a substantial part of the concrete social criticism that characterizes Ostrovsky’s play. The opera concentrates on the protagonist and the individuals who directly determine her fate. Yet beyond the microcosm of the family, the social environment remains a palpable determining factor.
We are in a village or small town where a traditional value system, as upheld by Kabanicha, has degenerated into repressive convention. An atmosphere of coldness and torpor prevails, colliding with any desire for individual realization or true enjoyment of life. At the same time, the conflict in which Káťa finds herself through her relationship with Boris is an internal one, as she has made the moral yardsticks of her environment so much her own that a crisis of conscience is inevitable. Káťa articulates little of what motivates or oppresses her, or what she yearns for, and is perhaps largely unaware of it — something that makes the figure so true-to-life — but hypocrisy is foreign to her. Unlike Varvara and her lover Kudrjáš, she is unable to blithely disregard internalized moral norms. Even in Act I, the memory of her dreams of flying suddenly turns into panicstricken fear of the ‘sin’ into which desire for another man threatens to plunge her. In Act III, as a storm rages (outdoors as well as inside Káťa), her feelings of guilt impel her to confess to the undiscovered betrayal of her marriage. Káťa is imprisoned in a society in which she cannot exist; she will ultimately choose death over this mental and spiritual violation.
Janáček brings to his portrayal of Káťa the sympathy and subtle sensitivity that he devotes — eschewing all stereotypes — to all his major female figures. First performed in Brno in 1921, Káťa Kabanová marks the beginning of the composer’s final, extraordinarily productive decade. Janáček had now found his unmistakable language as a musical dramatist — a language that conveys the characters and situations, psychology and atmosphere in highly concentrated form, and in its naked immediacy and power gets directly under the listener’s skin.
Christian Arseni
Translation: Sophie Kidd
Time
(Thursday) 8:00 pm
Location
Salzburg Felsenreitschule
Felsenreitschule, Hofstallgasse 1, 5020 Salzburg, Austria

Event Details
Jakub Hrůša Conductor Barrie Kosky Director Rufus Didwiszus Sets Victoria Behr Costumes Franck Evin Lighting Christian Arseni Dramaturgy CAST Jens Larsen Savjol Prokofjevič Dikoj David Butt Philip Boris Grigorjevič Evelyn Herlitzius Marfa Ignatěvna
more
Event Details
Jakub Hrůša Conductor
Barrie Kosky Director
Rufus Didwiszus Sets
Victoria Behr Costumes
Franck Evin Lighting
Christian Arseni Dramaturgy
CAST
Jens Larsen Savjol Prokofjevič Dikoj
David Butt Philip Boris Grigorjevič
Evelyn Herlitzius Marfa Ignatěvna Kabanová (Kabanicha)
Jaroslav Březina Tichon Ivanyč Kabanov
Corinne Winters Katěrina (Káťa)
Benjamin Hulett Váňa Kudrjáš
Jarmila Balážová Varvara
Michael Mofidian Kuligin
Concert Association of the Vienna State Opera Chorus
Huw Rhys James Chorus Master
Vienna Philharmonic
‘I lived free like a bird’: Káťa Kabanová confides wistfully to her sister-in-law Varvara how different her life used to be. She tells her how during mass at church she experienced celestial visions that moved her to tears, and how she had dreams of soaring high into the sky. The luminous, increasingly ecstatic music to which Janáček sets Káťa’s reminiscences reveals not only the figure’s rich interior life but also an irrepressible urge for freedom. But since her marriage to Tichon the fire within Káťa is at risk of being smothered entirely. The situation she lives in is claustrophobic. Home is ruled despotically by her mother-in-law Kabanicha, the widow of a merchant. Conscious of material dependencies and in the name of tradition and morals, she makes sure that the required subservience is shown by woman to husband and young to old. Ground down by his mother’s constant carping, Tichon lacks the independence to be able to give his wife what she needs and seeks refuge in alcohol. When he departs on a journey for a few days, Varvara, who is aware of the mutual attraction between Káťa and the unmarried Boris, arranges a first night-time tryst for them. This uncaps all Káťa’s pent-up emotions: behind the desperate intensity with which she gives herself to Boris erupt needs that go far beyond a yearning for fulfilled love or shared passion. To Káťa, to go on living now seems more impossible than ever.
Leoš Janáček forged the libretto to Káťa Kabanová from a Czech translation of Alexander Ostrovsky’s play The Storm (1859), which is set in a small-town milieu dominated by wealthy merchants in mid-19th century Russia. Janáček dispensed with many of the specific socio-historical details — and thus also a substantial part of the concrete social criticism that characterizes Ostrovsky’s play. The opera concentrates on the protagonist and the individuals who directly determine her fate. Yet beyond the microcosm of the family, the social environment remains a palpable determining factor.
We are in a village or small town where a traditional value system, as upheld by Kabanicha, has degenerated into repressive convention. An atmosphere of coldness and torpor prevails, colliding with any desire for individual realization or true enjoyment of life. At the same time, the conflict in which Káťa finds herself through her relationship with Boris is an internal one, as she has made the moral yardsticks of her environment so much her own that a crisis of conscience is inevitable. Káťa articulates little of what motivates or oppresses her, or what she yearns for, and is perhaps largely unaware of it — something that makes the figure so true-to-life — but hypocrisy is foreign to her. Unlike Varvara and her lover Kudrjáš, she is unable to blithely disregard internalized moral norms. Even in Act I, the memory of her dreams of flying suddenly turns into panicstricken fear of the ‘sin’ into which desire for another man threatens to plunge her. In Act III, as a storm rages (outdoors as well as inside Káťa), her feelings of guilt impel her to confess to the undiscovered betrayal of her marriage. Káťa is imprisoned in a society in which she cannot exist; she will ultimately choose death over this mental and spiritual violation.
Janáček brings to his portrayal of Káťa the sympathy and subtle sensitivity that he devotes — eschewing all stereotypes — to all his major female figures. First performed in Brno in 1921, Káťa Kabanová marks the beginning of the composer’s final, extraordinarily productive decade. Janáček had now found his unmistakable language as a musical dramatist — a language that conveys the characters and situations, psychology and atmosphere in highly concentrated form, and in its naked immediacy and power gets directly under the listener’s skin.
Christian Arseni
Translation: Sophie Kidd
Time
(Sunday) 8:00 pm
Location
Salzburg Felsenreitschule
Felsenreitschule, Hofstallgasse 1, 5020 Salzburg, Austria
july 2022
02jul7:00 pmLitomyšl, Czechia - Czech Philharmonic - Kabeláč, Shostakovich7:00 pm Litomyšl Castle

Event Details
Performing with, Czech Philharmonic Programme Miroslav Kabeláč Mystery of Time Passacaglia for Large Orchestra, Op. 31 Dmitri Shostakovich Symphony No. 7 in C Major, Op. 60 (“Leningrad”)
Event Details
Performing with,
Czech Philharmonic
Programme
Miroslav Kabeláč
Mystery of Time
Passacaglia for Large Orchestra, Op. 31
Dmitri Shostakovich
Symphony No. 7 in C Major, Op. 60 (“Leningrad”)
Time
(Saturday) 7:00 pm
Location
Litomyšl Castle
Jiráskova 93, 570 01 Litomyšl, Czechia
01jul7:00 pmLitomyšl, Czechia - Czech Philharmonic - Smetana, Suk, Brahms7:00 pm Litomyšl Castle

Event Details
Performing with, Lukáš Vondráček, piano Czech Philharmonic Programme Bedřich Smetana From Bohemia's Meadows and Forest Josef Suk Praga Johannes Brahms Concerto in D minor for piano and orchestra No. 1, Op. 15
Event Details
Performing with,
Lukáš Vondráček, piano
Czech Philharmonic
Programme
Bedřich Smetana
From Bohemia’s Meadows and Forest
Josef Suk
Praga
Johannes Brahms
Concerto in D minor for piano and orchestra No. 1, Op. 15
Time
(Friday) 7:00 pm
Location
Litomyšl Castle
Jiráskova 93, 570 01 Litomyšl, Czechia
june 2022
17jun8:15 pmAmsterdam, Netherlands - Janácek, Firsova, Smirnov, Lutoslawski8:15 pm Concertgebouw

Event Details
Jakub Hrůša, conductor Yefim Bronfman, piano Concertgebouworkest Programme Janácek: Suite 'From the House of the Dead' Elena Firsova: Concerto for Piano and Orchestra commission) Dmitri Smirnov: Pastorale Lutoslawski: Concerto for Orchestra Jakub Hrůša leads the Concertgebouworkest in
Event Details
Jakub Hrůša, conductor
Yefim Bronfman, piano
Concertgebouworkest
Programme
Janácek: Suite ‘From the House of the Dead’
Elena Firsova: Concerto for Piano and Orchestra commission)
Dmitri Smirnov: Pastorale
Lutoslawski: Concerto for Orchestra
Jakub Hrůša leads the Concertgebouworkest in works by Firsova, Smirnov, Janáček and Lutosławski which tell a story about music and oppression. Artist in residence Yefim Bronfman performs as soloist in a new work by Elena Firsova.
Time
(Friday) 8:15 pm
Location
Concertgebouw
16jun8:15 pmAmsterdam, Netherlands - Janácek, Firsova, Smirnov, Lutoslawski8:15 pm Concertgebouw

Event Details
Jakub Hrůša, conductor Yefim Bronfman, piano Concertgebouworkest Programme Janácek: Suite 'From the House of the Dead' Elena Firsova: Concerto for Piano and Orchestra commission) Dmitri Smirnov: Pastorale Lutoslawski: Concerto for Orchestra Jakub Hrůša leads the Concertgebouworkest in
Event Details
Jakub Hrůša, conductor
Yefim Bronfman, piano
Concertgebouworkest
Programme
Janácek: Suite ‘From the House of the Dead’
Elena Firsova: Concerto for Piano and Orchestra commission)
Dmitri Smirnov: Pastorale
Lutoslawski: Concerto for Orchestra
Jakub Hrůša leads the Concertgebouworkest in works by Firsova, Smirnov, Janáček and Lutosławski which tell a story about music and oppression. Artist in residence Yefim Bronfman performs as soloist in a new work by Elena Firsova.
Time
(Thursday) 8:15 pm
Location
Concertgebouw

Event Details
Jakub Hrůša, conductor Kateřina Kněžíková, soprano Jarmila Balážová, contralto Richard Samek, tenor Jozef Benci, bass Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia Dvořák Symphony No. 9 “From the New World” Janáček Glagolitic Mass
Event Details
Jakub Hrůša, conductor
Kateřina Kněžíková, soprano
Jarmila Balážová, contralto
Richard Samek, tenor
Jozef Benci, bass
Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia
Dvořák Symphony No. 9 “From the New World”
Janáček Glagolitic Mass
Time
(Saturday) 6:00 pm
Location
Academia Nazionale die Santa Cecilia

Event Details
Jakub Hrůša, conductor Kateřina Kněžíková, soprano Jarmila Balážová, contralto Richard Samek, tenor Jozef Benci, bass Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia Dvořák Symphony No. 9 “From the New World” Janáček Glagolitic Mass
Event Details
Jakub Hrůša, conductor
Kateřina Kněžíková, soprano
Jarmila Balážová, contralto
Richard Samek, tenor
Jozef Benci, bass
Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia
Dvořák Symphony No. 9 “From the New World”
Janáček Glagolitic Mass
Time
(Friday) 8:30 pm
Location
Academia Nazionale die Santa Cecilia

Event Details
Jakub Hrůša, conductor Kateřina Kněžíková, soprano Jarmila Balážová, contralto Richard Samek, tenor Jozef Benci, bass Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia Dvořák Symphony No. 9 “From the New World” Janáček Glagolitic Mass
Event Details
Jakub Hrůša, conductor
Kateřina Kněžíková, soprano
Jarmila Balážová, contralto
Richard Samek, tenor
Jozef Benci, bass
Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia
Dvořák Symphony No. 9 “From the New World”
Janáček Glagolitic Mass
Time
(Thursday) 7:30 pm
Location
Academia Nazionale die Santa Cecilia
may 2022
31may8:00 pmMunich, Germany - Bamberger Symphoniker - "Ring without words"8:00 pm Isarphilharmonie

Event Details
Jakub Hrůša Conductor Bamberger Symphoniker SONDERKONZERT »Der Ring ohne Worte« »The Ring Without Words« – the title alone is enough to trigger one’s curiosity! This programme revolves around Wagner's timeless parable of power
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Event Details
Jakub Hrůša Conductor
Bamberger Symphoniker
SONDERKONZERT »Der Ring ohne Worte«
»The Ring Without Words« – the title alone is enough to trigger one’s curiosity! This programme revolves around Wagner’s timeless parable of power and love, the monumental drama of the »Ring of the Nibelung«. Loriot once commented: »The perpetrators in the most powerful drama in the history of music are actually quite nice people – it is just that a common passion becomes their undoing. In the blind, callous pursuit of profit, they destroy themselves and their world.« We will perform a fascinating fast-forward through the four operas of this opus magnum, entirely without sets, singers or costumes, that was created in 1987 by the famous conductor Lorin Maazel, who said, »The orchestral score itself is the ‘Ring’, encoded in sound. When you decipher this code, it turns out to be a story, a legend, a song, a philosophy – in countless cosmic overtones and human undertones.« Maazel’s »symphonic synthesis« aims to bring this »sound code« closer to the audience. And indeed, the orchestral decoction has no need of words: prominent vocal parts are taken over by the instruments, which present the many catchy melodies and leitmotifs that Wagner called »emotional signposts« for the listeners. The music follows the operatic chronology of the »festival for the stage« exactly, from the first note of »Rheingold« to the final chord of »Götterdämmerung«. The performance of this great symphony of music theatre is truly something to look forward to – a concert of just under 75 minutes, both for curious newcomers to Wagner’s world and for die-hard fans who simply don’t have the time for a 15-hour »Ring« marathon!
»Der Ring ohne Worte« – allein der Titel macht schon neugierig auf das, was in diesem Konzert zu erwarten ist. Alles dreht sich um Wagners zeitlose Parabel der Macht und der Liebe – das monumentale Weltendrama vom »Ring des Nibelungen«, das Loriot einmal mit den Worten kommentierte: »Die Täter im gewaltigsten Drama der Musikgeschichte sind eigentlich ganz nette Leute. Nur eine gemeinsame Leidenschaft wird ihnen zum Verhängnis. In blindem, lieblosem Gewinnstreben vernichten sie sich selbst und ihre Welt.« Wir spielen einen faszinierenden Schnelldurchlauf durch die vier Opern des Opus Magnum, ganz ohne Bühnenbilder, Sänger und Kostüme – 1987 erstellt vom berühmten Dirigenten Lorin Maazel, der meinte: »Die Orchesterpartitur selbst ist der ›Ring‹, verschlüsselt in einen Klang-Code. Entziffert man diesen Code, so entpuppt er sich als eine Geschichte, eine Sage, ein Lied, eine Philosophie – in zahllosen kosmischen Obertönen und menschlichen Untertönen.« Diesen »Klang-Code« wollte er in seiner »symphonischen Synthese« dem Publikum näher bringen. Und das orchestrale Destillat kommt auch gut ohne Worte aus: Dort, wo man eine der prominenten Gesangspartien vermis-sen könnte, übernimmt ein Instrument die Rolle und präsentiert eine der vielen eingängigen Melodien und Leitmotive – welche Wagner als »Gefühlswegweiser« für die Hörer bezeichnete. Die Musik folgt genau der Opern-Chronologie des »Bühnenfestspiels«, vom ersten »Rheingold«-Ton bis zum Schlussakkord der »Götterdämmerung«. Die Aufführung dieser großartigen Musiktheater-Symphonie kann wahrlich mit Spannung erwartet werden – ein knapp 75-minütiges Konzert für alle neugierigen Einsteiger in Wagners Welt und eben- so für eingefleischte Liebhaber, die gerade keine Zeit für einen 15 Stunden langen »Ring«-Marathon haben!
Time
(Tuesday) 8:00 pm
Location
Isarphilharmonie
Hans-Preißinger-Straße 8, 81379 München, Germany
30may8:00 pmBamberg, Germany - Bamberger Symphoniker - "Ring without words"8:00 pm

Event Details
Jakub Hrůša Conductor Bamberger Symphoniker SONDERKONZERT »Der Ring ohne Worte« »The Ring Without Words« – the title alone is enough to trigger one’s curiosity! This programme revolves around Wagner's timeless parable of power
more
Event Details
Jakub Hrůša Conductor
Bamberger Symphoniker
SONDERKONZERT »Der Ring ohne Worte«
»The Ring Without Words« – the title alone is enough to trigger one’s curiosity! This programme revolves around Wagner’s timeless parable of power and love, the monumental drama of the »Ring of the Nibelung«. Loriot once commented: »The perpetrators in the most powerful drama in the history of music are actually quite nice people – it is just that a common passion becomes their undoing. In the blind, callous pursuit of profit, they destroy themselves and their world.« We will perform a fascinating fast-forward through the four operas of this opus magnum, entirely without sets, singers or costumes, that was created in 1987 by the famous conductor Lorin Maazel, who said, »The orchestral score itself is the ‘Ring’, encoded in sound. When you decipher this code, it turns out to be a story, a legend, a song, a philosophy – in countless cosmic overtones and human undertones.« Maazel’s »symphonic synthesis« aims to bring this »sound code« closer to the audience. And indeed, the orchestral decoction has no need of words: prominent vocal parts are taken over by the instruments, which present the many catchy melodies and leitmotifs that Wagner called »emotional signposts« for the listeners. The music follows the operatic chronology of the »festival for the stage« exactly, from the first note of »Rheingold« to the final chord of »Götterdämmerung«. The performance of this great symphony of music theatre is truly something to look forward to – a concert of just under 75 minutes, both for curious newcomers to Wagner’s world and for die-hard fans who simply don’t have the time for a 15-hour »Ring« marathon!
»Der Ring ohne Worte« – allein der Titel macht schon neugierig auf das, was in diesem Konzert zu erwarten ist. Alles dreht sich um Wagners zeitlose Parabel der Macht und der Liebe – das monumentale Weltendrama vom »Ring des Nibelungen«, das Loriot einmal mit den Worten kommentierte: »Die Täter im gewaltigsten Drama der Musikgeschichte sind eigentlich ganz nette Leute. Nur eine gemeinsame Leidenschaft wird ihnen zum Verhängnis. In blindem, lieblosem Gewinnstreben vernichten sie sich selbst und ihre Welt.« Wir spielen einen faszinierenden Schnelldurchlauf durch die vier Opern des Opus Magnum, ganz ohne Bühnenbilder, Sänger und Kostüme – 1987 erstellt vom berühmten Dirigenten Lorin Maazel, der meinte: »Die Orchesterpartitur selbst ist der ›Ring‹, verschlüsselt in einen Klang-Code. Entziffert man diesen Code, so entpuppt er sich als eine Geschichte, eine Sage, ein Lied, eine Philosophie – in zahllosen kosmischen Obertönen und menschlichen Untertönen.« Diesen »Klang-Code« wollte er in seiner »symphonischen Synthese« dem Publikum näher bringen. Und das orchestrale Destillat kommt auch gut ohne Worte aus: Dort, wo man eine der prominenten Gesangspartien vermis-sen könnte, übernimmt ein Instrument die Rolle und präsentiert eine der vielen eingängigen Melodien und Leitmotive – welche Wagner als »Gefühlswegweiser« für die Hörer bezeichnete. Die Musik folgt genau der Opern-Chronologie des »Bühnenfestspiels«, vom ersten »Rheingold«-Ton bis zum Schlussakkord der »Götterdämmerung«. Die Aufführung dieser großartigen Musiktheater-Symphonie kann wahrlich mit Spannung erwartet werden – ein knapp 75-minütiges Konzert für alle neugierigen Einsteiger in Wagners Welt und eben- so für eingefleischte Liebhaber, die gerade keine Zeit für einen 15 Stunden langen »Ring«-Marathon haben!
Time
(Monday) 8:00 pm

Event Details
Jakub Hrůša Conductor Bamberger Symphoniker AN INTERDISCIPLINARY WAGNER LABORATORY Richard Wagner’s music has long been a fixture in the concerts of the Bamberg Symphony Orchestra. Under Jonathan Nott, we gave concert performances of
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Event Details
Jakub Hrůša Conductor
Bamberger Symphoniker
AN INTERDISCIPLINARY WAGNER LABORATORY
Richard Wagner’s music has long been a fixture in the concerts of the Bamberg Symphony Orchestra. Under Jonathan Nott, we gave concert performances of almost all of Wagner’s operas. In 2013 we were guests at the Lucerne Festival, performing the entire »Ring des Nibelungen«. The orchestra’s history likewise repeatedly reveals points of contact, from a »Walküre« under Joseph Keilberth, which we performed in Barcelona in 1955 as a Bayreuth Festival guest performance, to our predecessor orchestra at the German Opera House in Prague, which on 1 January 1914 gave the first performance of »Parsifal« outside Bayreuth, following the expiry of the copyright restricting performances of the work to the Festspielhaus.
This year we would like to give our curiosity full rein in exploring the effects of Wagner’s music. In a concert series inspired by the recent book by New York music critic and author Alex Ross, »The World After Wagner« will be brought to life in a kind of musical laboratory. Music, texts and images dealing with the Wagner phenomenon will be interwoven in an interdisciplinary fashion – a kind of tribute to Wagner’s concept of the »Gesamtkunstwerk«. In addition, we will perform the »Ring Without Words« in Lorin Maazel’s popular version and show Fritz Lang’s legendary 1924 silent film about »Siegfried« – accompanied live by the original film music.
We hope to (re)awaken your curiosity about Wagner and look forward to embarking on this journey of discovery together!
Jakub Hrůša Conductor
SONDERKONZERT »Die Welt nach Wagner«
Seit langem ist die Musik Richard Wagners ein Fixpunkt in der Konzerttätigkeit der Bamberger Symphoniker: In der Ära Jonathan Nott führten wir in Bamberg fast alle Wagner-Opern in konzertanter Form auf. 2013 waren wir mit dem gesamten »Ring des Nibelungen« beim Lucerne Festival zu Gast. Auch die Orchester-geschichte zeigt immer wieder Anknüpfungspunkte auf, von einer »Walküre« unter Joseph Keilberth, die wir 1955 als Gastspiel der Bayreuther Festspiele in Barcelona aufführten, bis hin zu unserem Vorgänger-Orchester im Deutschen Opernhaus in Prag, das am 1. Januar 1914 die erste Aufführung des »Parsifal« außerhalb Bayreuths nach Ablauf der Schutzfrist spielte.
Dieses Jahr möchten wir mit großer Neugier der Wirkung der Wagnerschen Musik nachspüren. In einer Konzertreihe, die durch das aktuelle Buch des New Yorker Musikkritikers und Autors Alex Ross inspiriert ist, soll die »Die Welt nach Wagner« in einer Art Labor zum Klingen gebracht werden. Musik, Texte und Bilder zum Phänomen Wagner werden interdisziplinär verwoben – im Grunde also auch eine Art Hommage an das »Gesamtkunstwerk«. Dazu führen wir den »Ring ohne Worte« in der beliebten Fassung von Lorin Maazel auf und zeigen den legendären Stummfilm von Fritz Lang über »Siegfried« aus dem Jahr 1924 – live von der originalen Filmmusik begleitet.
Wir hoffen, auch Ihre Neugier auf Wagner (neu) zu wecken und sind gespannt auf die gemeinsame Entdeckungsreise.
Time
(Wednesday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany

Event Details
Jakub Hrůša Conductor Kian Soltani Violoncello Tonhalle-Orchester Zürich Programme Dvořák Cellokonzert h-Moll op. 104 Nikolaevič Smirnov Pastorale op. 15 Lutosławski Konzert für Orchester - Prélude Mit Karamell wurde der Celloklang von Kian Soltani verglichen. Unter den jungen
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Event Details
Jakub Hrůša Conductor
Kian Soltani Violoncello
Tonhalle-Orchester Zürich
Programme
Dvořák Cellokonzert h-Moll op. 104
Nikolaevič Smirnov Pastorale op. 15
Lutosławski Konzert für Orchester – Prélude
Mit Karamell wurde der Celloklang von Kian Soltani verglichen. Unter den jungen aufstrebenden Solisten gehört der Österreicher längst zu den weltweit meistbeachteten – beste Voraussetzungen also für eines der zentralen Cellokonzerte überhaupt, das von Dvořák. Am Pult steht einer der Landsleute des Komponisten: Jakub Hrůša ist regelmässig bei uns zu Gast. Dmitrij Smirnov gehört zu den weniger bekannten, aber eigenständigsten Stimmen der späten Sowjetunion. Als junger Mann schrieb er 1975 in Moskau seine Pastorale, in der er den Klängen der Natur nachspürte. Besonderes Augenmerk legte er auf den Vogelgesang, indem er jeder Art ein eigenes Instrument zuordnete. Zwanzig Jahre zuvor machte das «Konzert für Orchester» Witold Lutosławski mit einem Schlag zum bedeutendsten polnischen Komponisten der Gegenwart.
Time
(Friday) 7:30 pm
Location
Tonhalle Zurich
Claridenstrasse 7, 8002 Zürich, Switzerland

Event Details
Jakub Hrůša Conductor Kian Soltani Violoncello Tonhalle-Orchester Zürich Programme Dvořák Cellokonzert h-Moll op. 104 Nikolaevič Smirnov Pastorale op. 15 Lutosławski Konzert für Orchester - Prélude Mit Karamell wurde der Celloklang von Kian Soltani verglichen. Unter den jungen
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Event Details
Jakub Hrůša Conductor
Kian Soltani Violoncello
Tonhalle-Orchester Zürich
Programme
Dvořák Cellokonzert h-Moll op. 104
Nikolaevič Smirnov Pastorale op. 15
Lutosławski Konzert für Orchester – Prélude
Mit Karamell wurde der Celloklang von Kian Soltani verglichen. Unter den jungen aufstrebenden Solisten gehört der Österreicher längst zu den weltweit meistbeachteten – beste Voraussetzungen also für eines der zentralen Cellokonzerte überhaupt, das von Dvořák. Am Pult steht einer der Landsleute des Komponisten: Jakub Hrůša ist regelmässig bei uns zu Gast. Dmitrij Smirnov gehört zu den weniger bekannten, aber eigenständigsten Stimmen der späten Sowjetunion. Als junger Mann schrieb er 1975 in Moskau seine Pastorale, in der er den Klängen der Natur nachspürte. Besonderes Augenmerk legte er auf den Vogelgesang, indem er jeder Art ein eigenes Instrument zuordnete. Zwanzig Jahre zuvor machte das «Konzert für Orchester» Witold Lutosławski mit einem Schlag zum bedeutendsten polnischen Komponisten der Gegenwart.
Time
(Thursday) 7:30 pm
Location
Tonhalle Zurich
Claridenstrasse 7, 8002 Zürich, Switzerland

Event Details
Jakub Hrůša Conductor Kian Soltani Violoncello Tonhalle-Orchester Zürich Programme Dvořák Cellokonzert h-Moll op. 104 Nikolaevič Smirnov Pastorale op. 15 Lutosławski Konzert für Orchester - Prélude Mit Karamell wurde der Celloklang von Kian Soltani verglichen. Unter den jungen
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Event Details
Jakub Hrůša Conductor
Kian Soltani Violoncello
Tonhalle-Orchester Zürich
Programme
Dvořák Cellokonzert h-Moll op. 104
Nikolaevič Smirnov Pastorale op. 15
Lutosławski Konzert für Orchester – Prélude
Mit Karamell wurde der Celloklang von Kian Soltani verglichen. Unter den jungen aufstrebenden Solisten gehört der Österreicher längst zu den weltweit meistbeachteten – beste Voraussetzungen also für eines der zentralen Cellokonzerte überhaupt, das von Dvořák. Am Pult steht einer der Landsleute des Komponisten: Jakub Hrůša ist regelmässig bei uns zu Gast. Dmitrij Smirnov gehört zu den weniger bekannten, aber eigenständigsten Stimmen der späten Sowjetunion. Als junger Mann schrieb er 1975 in Moskau seine Pastorale, in der er den Klängen der Natur nachspürte. Besonderes Augenmerk legte er auf den Vogelgesang, indem er jeder Art ein eigenes Instrument zuordnete. Zwanzig Jahre zuvor machte das «Konzert für Orchester» Witold Lutosławski mit einem Schlag zum bedeutendsten polnischen Komponisten der Gegenwart.
Time
(Thursday) 12:15 pm
Location
Tonhalle Zurich
Claridenstrasse 7, 8002 Zürich, Switzerland

Event Details
Jakub Hrůša Conductor Kian Soltani Violoncello Tonhalle-Orchester Zürich Programme Dvořák Cellokonzert h-Moll op. 104 Nikolaevič Smirnov Pastorale op. 15 Lutosławski Konzert für Orchester - Prélude Mit Karamell wurde der Celloklang von Kian Soltani verglichen. Unter den jungen
more
Event Details
Jakub Hrůša Conductor
Kian Soltani Violoncello
Tonhalle-Orchester Zürich
Programme
Dvořák Cellokonzert h-Moll op. 104
Nikolaevič Smirnov Pastorale op. 15
Lutosławski Konzert für Orchester – Prélude
Mit Karamell wurde der Celloklang von Kian Soltani verglichen. Unter den jungen aufstrebenden Solisten gehört der Österreicher längst zu den weltweit meistbeachteten – beste Voraussetzungen also für eines der zentralen Cellokonzerte überhaupt, das von Dvořák. Am Pult steht einer der Landsleute des Komponisten: Jakub Hrůša ist regelmässig bei uns zu Gast. Dmitrij Smirnov gehört zu den weniger bekannten, aber eigenständigsten Stimmen der späten Sowjetunion. Als junger Mann schrieb er 1975 in Moskau seine Pastorale, in der er den Klängen der Natur nachspürte. Besonderes Augenmerk legte er auf den Vogelgesang, indem er jeder Art ein eigenes Instrument zuordnete. Zwanzig Jahre zuvor machte das «Konzert für Orchester» Witold Lutosławski mit einem Schlag zum bedeutendsten polnischen Komponisten der Gegenwart.
Time
(Wednesday) 7:30 pm
Location
Tonhalle Zurich
Claridenstrasse 7, 8002 Zürich, Switzerland

Event Details
Wagner: Lohengrin Conducted by Jakub Hruša Cast Lohengrin: Brandon Jovanovich Elsa von Brabant: Jennifer Davis Ortrud: Anna Smirnova Telramund: Craig Colclough King Heinrich: Gábor Bretz Herald: Derek Welton Chorus: Royal Opera Chorus Creative Company - The Royal Opera Music - Richard Wagner Libretto
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Event Details
Wagner: Lohengrin
Conducted by Jakub Hruša
Cast
Lohengrin: Brandon Jovanovich
Elsa von Brabant: Jennifer Davis
Ortrud: Anna Smirnova
Telramund: Craig Colclough
King Heinrich: Gábor Bretz
Herald: Derek Welton
Chorus: Royal Opera Chorus
Creative
Company – The Royal Opera
Music – Richard Wagner
Libretto – Richard Wagner
Director – David Alden
Set designer – Paul Steinberg
Costume designer – Gideon Davey
Lighting designer – Adam Silverman
Video designer – Tal Rosner
Movement director – Maxine Braham
David Alden’s acclaimed staging of Wagner’s early masterpiece, first seen in 2018, places the opera in the timeless setting of a bombed-out city – a dystopian world threatened from outside, where the people are looking for both a sense of direction and a new leader.
American heldentenor Brandon Jovanovich leads the cast as the mysterious ‘swan knight’ Lohengrin, sent to defend the accused Elsa von Brabant, under the condition that she must never ask his true identity. Former Jette Parker Young Artists Jennifer Davis and Kostas Smoriginas return to Covent Garden as Elsa and the wicked Friedrich von Telramund, while Anna Smirnova and Maida Hundeling share the role of Telramund’s evil wife Ortrud. Jakub Hrůša conducts.
Time
(Saturday) 6:00 pm
Location
Royal Opera House Covent Garden
Bow St, London WC2E 9DD

Event Details
Wagner: Lohengrin Conducted by Jakub Hruša Cast Lohengrin: Brandon Jovanovich Elsa von Brabant: Jennifer Davis Ortrud: Anna Smirnova Telramund: Craig Colclough King Heinrich: Gábor Bretz Herald: Derek Welton Chorus: Royal Opera Chorus Creative Company - The Royal Opera Music - Richard Wagner Libretto
more
Event Details
Wagner: Lohengrin
Conducted by Jakub Hruša
Cast
Lohengrin: Brandon Jovanovich
Elsa von Brabant: Jennifer Davis
Ortrud: Anna Smirnova
Telramund: Craig Colclough
King Heinrich: Gábor Bretz
Herald: Derek Welton
Chorus: Royal Opera Chorus
Creative
Company – The Royal Opera
Music – Richard Wagner
Libretto – Richard Wagner
Director – David Alden
Set designer – Paul Steinberg
Costume designer – Gideon Davey
Lighting designer – Adam Silverman
Video designer – Tal Rosner
Movement director – Maxine Braham
David Alden’s acclaimed staging of Wagner’s early masterpiece, first seen in 2018, places the opera in the timeless setting of a bombed-out city – a dystopian world threatened from outside, where the people are looking for both a sense of direction and a new leader.
American heldentenor Brandon Jovanovich leads the cast as the mysterious ‘swan knight’ Lohengrin, sent to defend the accused Elsa von Brabant, under the condition that she must never ask his true identity. Former Jette Parker Young Artists Jennifer Davis and Kostas Smoriginas return to Covent Garden as Elsa and the wicked Friedrich von Telramund, while Anna Smirnova and Maida Hundeling share the role of Telramund’s evil wife Ortrud. Jakub Hrůša conducts.
Time
(Wednesday) 6:00 pm
Location
Royal Opera House Covent Garden
Bow St, London WC2E 9DD

Event Details
Wagner: Lohengrin Conducted by Jakub Hruša Cast Lohengrin: Brandon Jovanovich Elsa von Brabant: Jennifer Davis Ortrud: Anna Smirnova Telramund: Craig Colclough King Heinrich: Gábor Bretz Herald: Derek Welton Chorus: Royal Opera Chorus Creative Company - The Royal Opera Music - Richard Wagner Libretto
more
Event Details
Wagner: Lohengrin
Conducted by Jakub Hruša
Cast
Lohengrin: Brandon Jovanovich
Elsa von Brabant: Jennifer Davis
Ortrud: Anna Smirnova
Telramund: Craig Colclough
King Heinrich: Gábor Bretz
Herald: Derek Welton
Chorus: Royal Opera Chorus
Creative
Company – The Royal Opera
Music – Richard Wagner
Libretto – Richard Wagner
Director – David Alden
Set designer – Paul Steinberg
Costume designer – Gideon Davey
Lighting designer – Adam Silverman
Video designer – Tal Rosner
Movement director – Maxine Braham
David Alden’s acclaimed staging of Wagner’s early masterpiece, first seen in 2018, places the opera in the timeless setting of a bombed-out city – a dystopian world threatened from outside, where the people are looking for both a sense of direction and a new leader.
American heldentenor Brandon Jovanovich leads the cast as the mysterious ‘swan knight’ Lohengrin, sent to defend the accused Elsa von Brabant, under the condition that she must never ask his true identity. Former Jette Parker Young Artists Jennifer Davis and Kostas Smoriginas return to Covent Garden as Elsa and the wicked Friedrich von Telramund, while Anna Smirnova and Maida Hundeling share the role of Telramund’s evil wife Ortrud. Jakub Hrůša conducts.
Time
(Saturday) 3:00 pm
Location
Royal Opera House Covent Garden
Bow St, London WC2E 9DD

Event Details
Wagner: Lohengrin Conducted by Jakub Hruša Cast Lohengrin: Brandon Jovanovich Elsa von Brabant: Jennifer Davis Ortrud: Anna Smirnova Telramund: Craig Colclough King Heinrich: Gábor Bretz Herald: Derek Welton Chorus: Royal Opera Chorus Creative Company - The Royal Opera Music - Richard Wagner Libretto
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Event Details
Wagner: Lohengrin
Conducted by Jakub Hruša
Cast
Lohengrin: Brandon Jovanovich
Elsa von Brabant: Jennifer Davis
Ortrud: Anna Smirnova
Telramund: Craig Colclough
King Heinrich: Gábor Bretz
Herald: Derek Welton
Chorus: Royal Opera Chorus
Creative
Company – The Royal Opera
Music – Richard Wagner
Libretto – Richard Wagner
Director – David Alden
Set designer – Paul Steinberg
Costume designer – Gideon Davey
Lighting designer – Adam Silverman
Video designer – Tal Rosner
Movement director – Maxine Braham
David Alden’s acclaimed staging of Wagner’s early masterpiece, first seen in 2018, places the opera in the timeless setting of a bombed-out city – a dystopian world threatened from outside, where the people are looking for both a sense of direction and a new leader.
American heldentenor Brandon Jovanovich leads the cast as the mysterious ‘swan knight’ Lohengrin, sent to defend the accused Elsa von Brabant, under the condition that she must never ask his true identity. Former Jette Parker Young Artists Jennifer Davis and Kostas Smoriginas return to Covent Garden as Elsa and the wicked Friedrich von Telramund, while Anna Smirnova and Maida Hundeling share the role of Telramund’s evil wife Ortrud. Jakub Hrůša conducts.
Time
(Sunday) 3:00 pm
Location
Royal Opera House Covent Garden
Bow St, London WC2E 9DD
april 2022

Event Details
Wagner: Lohengrin Conducted by Jakub Hruša Cast Lohengrin: Brandon Jovanovich Elsa von Brabant: Jennifer Davis Ortrud: Anna Smirnova Telramund: Craig Colclough King Heinrich: Gábor Bretz Herald: Derek Welton Chorus: Royal Opera Chorus Creative Company - The Royal Opera Music - Richard Wagner Libretto
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Event Details
Wagner: Lohengrin
Conducted by Jakub Hruša
Cast
Lohengrin: Brandon Jovanovich
Elsa von Brabant: Jennifer Davis
Ortrud: Anna Smirnova
Telramund: Craig Colclough
King Heinrich: Gábor Bretz
Herald: Derek Welton
Chorus: Royal Opera Chorus
Creative
Company – The Royal Opera
Music – Richard Wagner
Libretto – Richard Wagner
Director – David Alden
Set designer – Paul Steinberg
Costume designer – Gideon Davey
Lighting designer – Adam Silverman
Video designer – Tal Rosner
Movement director – Maxine Braham
David Alden’s acclaimed staging of Wagner’s early masterpiece, first seen in 2018, places the opera in the timeless setting of a bombed-out city – a dystopian world threatened from outside, where the people are looking for both a sense of direction and a new leader.
American heldentenor Brandon Jovanovich leads the cast as the mysterious ‘swan knight’ Lohengrin, sent to defend the accused Elsa von Brabant, under the condition that she must never ask his true identity. Former Jette Parker Young Artists Jennifer Davis and Kostas Smoriginas return to Covent Garden as Elsa and the wicked Friedrich von Telramund, while Anna Smirnova and Maida Hundeling share the role of Telramund’s evil wife Ortrud. Jakub Hrůša conducts.
Time
(Wednesday) 6:00 pm
Location
Royal Opera House Covent Garden
Bow St, London WC2E 9DD

Event Details
Wagner: Lohengrin Conducted by Jakub Hruša Cast Lohengrin: Brandon Jovanovich Elsa von Brabant: Jennifer Davis Ortrud: Anna Smirnova Telramund: Craig Colclough King Heinrich: Gábor Bretz Herald: Derek Welton Chorus: Royal Opera Chorus Creative Company - The Royal Opera Music - Richard Wagner Libretto
more
Event Details
Wagner: Lohengrin
Conducted by Jakub Hruša
Cast
Lohengrin: Brandon Jovanovich
Elsa von Brabant: Jennifer Davis
Ortrud: Anna Smirnova
Telramund: Craig Colclough
King Heinrich: Gábor Bretz
Herald: Derek Welton
Chorus: Royal Opera Chorus
Creative
Company – The Royal Opera
Music – Richard Wagner
Libretto – Richard Wagner
Director – David Alden
Set designer – Paul Steinberg
Costume designer – Gideon Davey
Lighting designer – Adam Silverman
Video designer – Tal Rosner
Movement director – Maxine Braham
David Alden’s acclaimed staging of Wagner’s early masterpiece, first seen in 2018, places the opera in the timeless setting of a bombed-out city – a dystopian world threatened from outside, where the people are looking for both a sense of direction and a new leader.
American heldentenor Brandon Jovanovich leads the cast as the mysterious ‘swan knight’ Lohengrin, sent to defend the accused Elsa von Brabant, under the condition that she must never ask his true identity. Former Jette Parker Young Artists Jennifer Davis and Kostas Smoriginas return to Covent Garden as Elsa and the wicked Friedrich von Telramund, while Anna Smirnova and Maida Hundeling share the role of Telramund’s evil wife Ortrud. Jakub Hrůša conducts.
Time
(Sunday) 3:00 pm
Location
Royal Opera House Covent Garden
Bow St, London WC2E 9DD

Event Details
Wagner: Lohengrin Conducted by Jakub Hruša Cast Lohengrin: Brandon Jovanovich Elsa von Brabant: Jennifer Davis Ortrud: Anna Smirnova Telramund: Craig Colclough replaces Kostas Smoriginas King Heinrich: Gábor Bretz Herald: Derek Welton Chorus: Royal Opera Chorus Creative Company - The Royal Opera Music
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Event Details
Wagner: Lohengrin
Conducted by Jakub Hruša
Cast
Lohengrin: Brandon Jovanovich
Elsa von Brabant: Jennifer Davis
Ortrud: Anna Smirnova
Telramund: Craig Colclough replaces Kostas Smoriginas
King Heinrich: Gábor Bretz
Herald: Derek Welton
Chorus: Royal Opera Chorus
Creative
Company – The Royal Opera
Music – Richard Wagner
Libretto – Richard Wagner
Director – David Alden
Set designer – Paul Steinberg
Costume designer – Gideon Davey
Lighting designer – Adam Silverman
Video designer – Tal Rosner
Movement director – Maxine Braham
David Alden’s acclaimed staging of Wagner’s early masterpiece, first seen in 2018, places the opera in the timeless setting of a bombed-out city – a dystopian world threatened from outside, where the people are looking for both a sense of direction and a new leader.
American heldentenor Brandon Jovanovich leads the cast as the mysterious ‘swan knight’ Lohengrin, sent to defend the accused Elsa von Brabant, under the condition that she must never ask his true identity. Former Jette Parker Young Artists Jennifer Davis and Kostas Smoriginas return to Covent Garden as Elsa and the wicked Friedrich von Telramund, while Anna Smirnova and Maida Hundeling share the role of Telramund’s evil wife Ortrud. Jakub Hrůša conducts.
Time
(Tuesday) 5:30 pm
Location
Royal Opera House Covent Garden
Bow St, London WC2E 9DD
03apr7:30 pmLondon, UK - Philharmonia - Vorísek, Beethoven7:30 pm Royal Festival Hall

Event Details
Jakub Hrůša conductor Johanni van Oostrum soprano Hanna Hipp mezzo-soprano Nicky Spence tenor Solomon Howard bass Philharmonia Orchestra Programme Vorísek: Symphony in D Beethoven: Symphony No.9 (Choral) Beethoven stretches the scale and structure of the symphonic form further than
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Event Details
Jakub Hrůša conductor
Johanni van Oostrum soprano
Hanna Hipp mezzo-soprano
Nicky Spence tenor
Solomon Howard bass
Philharmonia Orchestra
Programme
Vorísek: Symphony in D
Beethoven: Symphony No.9 (Choral)
Beethoven stretches the scale and structure of the symphonic form further than anyone had dared before him.
And in the final movement he breaks the boundaries of the orchestra itself, invoking the human voice to share his message of brotherhood.
His setting of Schiller’s Ode to Joy has become an anthem for freedom and fellowship around the world.
Hearing it live is still an exhilarating experience, almost 200 years after its triumphant premiere.
To pave the way for this musical icon, Jakub Hruša has chosen a symphony composed by his compatriot Voríšek just a few years before Beethoven’s.
Voríšek moved to Vienna from his Bohemian home (now in the Czech Republic) with the express hope of meeting Beethoven and establishing himself as a composer.
He succeeded in both, and became firm friends with Schubert, too.
His only symphony is full of melodic invention and contrasts of mood.
Time
(Sunday) 7:30 pm
Location
Royal Festival Hall
Southbank Centre, Belvedere Rd, Lambeth, London SE1 8XX
february 2022

Event Details
Jakub Hrůša Conductor Hélène Grimaud Piano Bamberger Symphoniker Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54 Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge) Scintillating fusion of nations! A contemporary raved about Smetana: »Richly
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Event Details
Jakub Hrůša Conductor
Hélène Grimaud Piano
Bamberger Symphoniker
Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54
Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge)
Scintillating fusion of nations! A contemporary raved about Smetana: »Richly knowledgeable, he had seen much, suffered much, and was a skilled and exciting storyteller.« The great Czech composer was fascinated by his homeland’s wonderful landscapes and wealth of legends. His magnificent national epic »Má vlast«, written between 1874 and 1879, creates a portrait of some of these scenes and myths. Our musical journey starts at the »Vyšehrad«, where it seems a medieval bard is evoking the royal castle’s glorious past. This is followed by the deathless »earworm« of the Vltava theme: Smetana’s music atmospherically traces the course of the river from its source to its mouth. The next tone poem revolves around the legendary warrior maiden »Šárka«, who leads a bloodthirsty campaign of revenge against unfaithful lovers – after first arousing the curiosity of men through her wiles. Finally, there is the atmospheric »From Bohemia’s Woods and Fields«, a light-hearted foray into scenes of pastoral beauty. Hélène Grimaud, too, believes nature to be the »humanity’s most important muse« – and her performances are also always driven by »curiosity and a sense of adventure«. Together with our orchestra, this exceptional artist will interpret the last piano concerto by Bartók, who, as an avid researcher of folk music, spent decades travelling across his native Hungary and to other countries with a phonograph. He completed his Third Piano Concerto in 1945 shortly before his death in exile in the USA – and it is imbued with his longing for his homeland and his love of nature: we hear a Hungarian children’s song, as well as the »music of a night filled with birds and insects«, which Bartók had noted down in North Carolina.
Time
(Thursday) 8:15 pm
Location
Dortmund Konzerthaus
23feb8:00 pmKöln, Germany - Bamberger Symphoniker - R. Schumann, Smetana8:00 pm Kölner Philharmonie

Event Details
Jakub Hrůša Conductor Hélène Grimaud Piano Bamberger Symphoniker Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54 Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge) Scintillating fusion of nations! A contemporary raved about Smetana: »Richly
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Event Details
Jakub Hrůša Conductor
Hélène Grimaud Piano
Bamberger Symphoniker
Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54
Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge)
Scintillating fusion of nations! A contemporary raved about Smetana: »Richly knowledgeable, he had seen much, suffered much, and was a skilled and exciting storyteller.« The great Czech composer was fascinated by his homeland’s wonderful landscapes and wealth of legends. His magnificent national epic »Má vlast«, written between 1874 and 1879, creates a portrait of some of these scenes and myths. Our musical journey starts at the »Vyšehrad«, where it seems a medieval bard is evoking the royal castle’s glorious past. This is followed by the deathless »earworm« of the Vltava theme: Smetana’s music atmospherically traces the course of the river from its source to its mouth. The next tone poem revolves around the legendary warrior maiden »Šárka«, who leads a bloodthirsty campaign of revenge against unfaithful lovers – after first arousing the curiosity of men through her wiles. Finally, there is the atmospheric »From Bohemia’s Woods and Fields«, a light-hearted foray into scenes of pastoral beauty. Hélène Grimaud, too, believes nature to be the »humanity’s most important muse« – and her performances are also always driven by »curiosity and a sense of adventure«. Together with our orchestra, this exceptional artist will interpret the last piano concerto by Bartók, who, as an avid researcher of folk music, spent decades travelling across his native Hungary and to other countries with a phonograph. He completed his Third Piano Concerto in 1945 shortly before his death in exile in the USA – and it is imbued with his longing for his homeland and his love of nature: we hear a Hungarian children’s song, as well as the »music of a night filled with birds and insects«, which Bartók had noted down in North Carolina.
Time
(Wednesday) 8:00 pm
Location
Kölner Philharmonie
22feb8:00 pmHamburg, Germany - Bamberger Symhoniker - Mahler8:00 pm Elbphilharmonie Hamburg

Event Details
Jakub Hrůša Conductor Christina Landshamer Soprano Catriona Morison Alto Wiener Singakademie (choir director: Heinz Ferlesch) Bamberger Symphoniker Programme Gustav Mahler Symphonie Nr. 2 c-Moll This concert ventures into the thrilling spheres of an epic work by the
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Event Details
Jakub Hrůša Conductor
Christina Landshamer Soprano
Catriona Morison Alto
Wiener Singakademie (choir director: Heinz Ferlesch)
Bamberger Symphoniker
Programme
Gustav Mahler Symphonie Nr. 2 c-Moll
This concert ventures into the thrilling spheres of an epic work by the symphonic philosopher Gustav Mahler, who once confessed: »When I listen to music – even while conducting – I often hear very specific answers to all my questions, and am completely clear and certain.« Mahler was always interested in the intellectual currents of his time, and had a thirst for knowledge that naturally was reflected in his music. The musicologist Constantin Floros has referred to this attitude as »Mahler’s intellectual curiosity«. Mahler’s thinking and composing usually centred on philosophical, religious, and existential questions. His Second Symphony, premiered in 1895 and nicknamed the »Resurrection Symphony«, is one of the symphonies that explores his worldview. The eternal human questions of death and resurrection are evoked in a massive symphonic fresco – incorporating the human voice as the »ultima ratio« of musical annunciation. Mahler called the poignant opening movement »Totenfeier« (funeral ceremony); in the second movement, the light-hearted melodies of the Ländler, a country dance, are heard; and the Scherzo presents a transformation of the song from »Des Knaben Wunderhorn« about St. Anthony’s futile sermon to the fish – until finally the chant of the »Urlicht« (primal light) rises up, intensifying into fervent pleading: »Ich bin von Gott und will wieder zu Gott« (»I am of God and want to return to God«). The Finale, which Mahler says represents a »Great Summons«, at first is characterised by highly agitated outbursts, including an offstage orchestra. But then, as if from another world, a lonely birdcall from the piccolo is heard, and Klopstock’s »Resurrection Ode« rises as if by magic – very cautiously at first, but Mahler gradually increases the tension as the music progresses, coming to a gripping climax in the words: »Sterben werd’ ich, um zu leben! Auferstehen, ja auferstehen wirst du!« – »I will die in order to live! You will be resurrected, yes, resurrected!«
Time
(Tuesday) 8:00 pm
Location
Elbphilharmonie Hamburg
Platz der Deutschen Einheit 1, 20457 Hamburg, Germany

Event Details
Jakub Hrůša Conductor Hélène Grimaud Piano Bamberger Symphoniker Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54 Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge) Scintillating fusion of nations! A contemporary raved about Smetana: »Richly
more
Event Details
Jakub Hrůša Conductor
Hélène Grimaud Piano
Bamberger Symphoniker
Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54
Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge)
Scintillating fusion of nations! A contemporary raved about Smetana: »Richly knowledgeable, he had seen much, suffered much, and was a skilled and exciting storyteller.« The great Czech composer was fascinated by his homeland’s wonderful landscapes and wealth of legends. His magnificent national epic »Má vlast«, written between 1874 and 1879, creates a portrait of some of these scenes and myths. Our musical journey starts at the »Vyšehrad«, where it seems a medieval bard is evoking the royal castle’s glorious past. This is followed by the deathless »earworm« of the Vltava theme: Smetana’s music atmospherically traces the course of the river from its source to its mouth. The next tone poem revolves around the legendary warrior maiden »Šárka«, who leads a bloodthirsty campaign of revenge against unfaithful lovers – after first arousing the curiosity of men through her wiles. Finally, there is the atmospheric »From Bohemia’s Woods and Fields«, a light-hearted foray into scenes of pastoral beauty. Hélène Grimaud, too, believes nature to be the »humanity’s most important muse« – and her performances are also always driven by »curiosity and a sense of adventure«. Together with our orchestra, this exceptional artist will interpret the last piano concerto by Bartók, who, as an avid researcher of folk music, spent decades travelling across his native Hungary and to other countries with a phonograph. He completed his Third Piano Concerto in 1945 shortly before his death in exile in the USA – and it is imbued with his longing for his homeland and his love of nature: we hear a Hungarian children’s song, as well as the »music of a night filled with birds and insects«, which Bartók had noted down in North Carolina.
Time
(Monday) 7:30 pm
Location
Hannover Stadthalle
Theodor-Heuss-Platz 1-3, 30175 Hannover, Germany

Event Details
Jakub Hrůša Conductor Hélène Grimaud Piano Bamberger Symphoniker Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54 Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge) Scintillating fusion of nations! A contemporary raved about Smetana: »Richly
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Event Details
Jakub Hrůša Conductor
Hélène Grimaud Piano
Bamberger Symphoniker
Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54
Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge)
Scintillating fusion of nations! A contemporary raved about Smetana: »Richly knowledgeable, he had seen much, suffered much, and was a skilled and exciting storyteller.« The great Czech composer was fascinated by his homeland’s wonderful landscapes and wealth of legends. His magnificent national epic »Má vlast«, written between 1874 and 1879, creates a portrait of some of these scenes and myths. Our musical journey starts at the »Vyšehrad«, where it seems a medieval bard is evoking the royal castle’s glorious past. This is followed by the deathless »earworm« of the Vltava theme: Smetana’s music atmospherically traces the course of the river from its source to its mouth. The next tone poem revolves around the legendary warrior maiden »Šárka«, who leads a bloodthirsty campaign of revenge against unfaithful lovers – after first arousing the curiosity of men through her wiles. Finally, there is the atmospheric »From Bohemia’s Woods and Fields«, a light-hearted foray into scenes of pastoral beauty. Hélène Grimaud, too, believes nature to be the »humanity’s most important muse« – and her performances are also always driven by »curiosity and a sense of adventure«. Together with our orchestra, this exceptional artist will interpret the last piano concerto by Bartók, who, as an avid researcher of folk music, spent decades travelling across his native Hungary and to other countries with a phonograph. He completed his Third Piano Concerto in 1945 shortly before his death in exile in the USA – and it is imbued with his longing for his homeland and his love of nature: we hear a Hungarian children’s song, as well as the »music of a night filled with birds and insects«, which Bartók had noted down in North Carolina.
Time
(Sunday) 8:00 pm
Location
Tonhalle Düsseldorf
Ehrenhof 1, 40479 Düsseldorf, Germany
18feb8:00 pmBamberg, Germany - Bamberger Symphoniker - R. Schumann, Smetana8:00 pm

Event Details
Jakub Hrůša Conductor Hélène Grimaud Piano Bamberger Symphoniker Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54 Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge) Scintillating fusion of nations! A contemporary raved about Smetana: »Richly
more
Event Details
Jakub Hrůša Conductor
Hélène Grimaud Piano
Bamberger Symphoniker
Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54
Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge)
Scintillating fusion of nations! A contemporary raved about Smetana: »Richly knowledgeable, he had seen much, suffered much, and was a skilled and exciting storyteller.« The great Czech composer was fascinated by his homeland’s wonderful landscapes and wealth of legends. His magnificent national epic »Má vlast«, written between 1874 and 1879, creates a portrait of some of these scenes and myths. Our musical journey starts at the »Vyšehrad«, where it seems a medieval bard is evoking the royal castle’s glorious past. This is followed by the deathless »earworm« of the Vltava theme: Smetana’s music atmospherically traces the course of the river from its source to its mouth. The next tone poem revolves around the legendary warrior maiden »Šárka«, who leads a bloodthirsty campaign of revenge against unfaithful lovers – after first arousing the curiosity of men through her wiles. Finally, there is the atmospheric »From Bohemia’s Woods and Fields«, a light-hearted foray into scenes of pastoral beauty. Hélène Grimaud, too, believes nature to be the »humanity’s most important muse« – and her performances are also always driven by »curiosity and a sense of adventure«. Together with our orchestra, this exceptional artist will interpret the last piano concerto by Bartók, who, as an avid researcher of folk music, spent decades travelling across his native Hungary and to other countries with a phonograph. He completed his Third Piano Concerto in 1945 shortly before his death in exile in the USA – and it is imbued with his longing for his homeland and his love of nature: we hear a Hungarian children’s song, as well as the »music of a night filled with birds and insects«, which Bartók had noted down in North Carolina.
Time
(Friday) 8:00 pm
17feb8:00 pmBamberg, Germany - Bamberger Symphoniker - R. Schumann, Smetana8:00 pm

Event Details
Jakub Hrůša Conductor Hélène Grimaud Piano Bamberger Symphoniker Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54 Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge) Scintillating fusion of nations! A contemporary raved about Smetana: »Richly
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Event Details
Jakub Hrůša Conductor
Hélène Grimaud Piano
Bamberger Symphoniker
Robert Schumann: Konzert für Klavier und Orchester a-Moll op. 54
Bedřich Smetana: »Má vlast« (»Mein Vaterland«, Auszüge)
Scintillating fusion of nations! A contemporary raved about Smetana: »Richly knowledgeable, he had seen much, suffered much, and was a skilled and exciting storyteller.« The great Czech composer was fascinated by his homeland’s wonderful landscapes and wealth of legends. His magnificent national epic »Má vlast«, written between 1874 and 1879, creates a portrait of some of these scenes and myths. Our musical journey starts at the »Vyšehrad«, where it seems a medieval bard is evoking the royal castle’s glorious past. This is followed by the deathless »earworm« of the Vltava theme: Smetana’s music atmospherically traces the course of the river from its source to its mouth. The next tone poem revolves around the legendary warrior maiden »Šárka«, who leads a bloodthirsty campaign of revenge against unfaithful lovers – after first arousing the curiosity of men through her wiles. Finally, there is the atmospheric »From Bohemia’s Woods and Fields«, a light-hearted foray into scenes of pastoral beauty. Hélène Grimaud, too, believes nature to be the »humanity’s most important muse« – and her performances are also always driven by »curiosity and a sense of adventure«. Together with our orchestra, this exceptional artist will interpret the last piano concerto by Bartók, who, as an avid researcher of folk music, spent decades travelling across his native Hungary and to other countries with a phonograph. He completed his Third Piano Concerto in 1945 shortly before his death in exile in the USA – and it is imbued with his longing for his homeland and his love of nature: we hear a Hungarian children’s song, as well as the »music of a night filled with birds and insects«, which Bartók had noted down in North Carolina.
Time
(Thursday) 8:00 pm

Event Details
Jakub Hrůša, conductor Yuja Wang, piano New York Philharmonic Programme Kodály: Concerto for Orchestra Liszt: Piano Concerto No. 1 Martinů: Symphony No. 1 Yuja Wang brings her “distinct perspective” and “wizardly technique” (Chicago Tribune) to Liszt’s First
Event Details
Jakub Hrůša, conductor
Yuja Wang, piano
New York Philharmonic
Programme
Kodály: Concerto for Orchestra
Liszt: Piano Concerto No. 1
Martinů: Symphony No. 1
Yuja Wang brings her “distinct perspective” and “wizardly technique” (Chicago Tribune) to Liszt’s First Piano Concerto, a pianistic tour de force that takes your breath away. Jakub Hrůša also conducts two Central European neglected gems: Kodály’s colorful Concerto for Orchestra and Martinů’s richly textured First Symphony.
Time
(Saturday) 8:00 pm
Location
New York Philharmonic - Alice Tully Hall
Lincoln Center, New York, NY 10023, USA

Event Details
Jakub Hrůša, conductor Yuja Wang, piano New York Philharmonic Programme Kodály: Concerto for Orchestra Liszt: Piano Concerto No. 1 Martinů: Symphony No. 1 Yuja Wang brings her “distinct perspective” and “wizardly technique” (Chicago Tribune) to Liszt’s First
Event Details
Jakub Hrůša, conductor
Yuja Wang, piano
New York Philharmonic
Programme
Kodály: Concerto for Orchestra
Liszt: Piano Concerto No. 1
Martinů: Symphony No. 1
Yuja Wang brings her “distinct perspective” and “wizardly technique” (Chicago Tribune) to Liszt’s First Piano Concerto, a pianistic tour de force that takes your breath away. Jakub Hrůša also conducts two Central European neglected gems: Kodály’s colorful Concerto for Orchestra and Martinů’s richly textured First Symphony.
Time
(Friday) 8:00 pm
Location
New York Philharmonic - Alice Tully Hall
Lincoln Center, New York, NY 10023, USA

Event Details
Jakub Hrůša, conductor Yuja Wang, piano New York Philharmonic Programme Kodály: Concerto for Orchestra Liszt: Piano Concerto No. 1 Martinů: Symphony No. 1 Yuja Wang brings her “distinct perspective” and “wizardly technique” (Chicago Tribune) to Liszt’s First
Event Details
Jakub Hrůša, conductor
Yuja Wang, piano
New York Philharmonic
Programme
Kodály: Concerto for Orchestra
Liszt: Piano Concerto No. 1
Martinů: Symphony No. 1
Yuja Wang brings her “distinct perspective” and “wizardly technique” (Chicago Tribune) to Liszt’s First Piano Concerto, a pianistic tour de force that takes your breath away. Jakub Hrůša also conducts two Central European neglected gems: Kodály’s colorful Concerto for Orchestra and Martinů’s richly textured First Symphony.
Time
(Thursday) 7:30 pm
Location
New York Philharmonic - Alice Tully Hall
Lincoln Center, New York, NY 10023, USA
05feb8:00 pmBoston, MA USA - Boston Symphony Orchestra - Dvořák, Janáček8:00 pm Boston Symphony Hall

Event Details
Jakub Hrůša , conductor Kateřina Kněžíkov, soprano Sasha Cooke, mezzo-soprano Brandon Jovanovich, tenor Adam Plachetka, bass Paul Jacobs, organ Tanglewood Festival Chorus Boston Symphony Orchestra Programme Janáček’s Jealousy Rachmaninov: Piano Concerto No. 2 Dvořák: Symphony No. 6 Czech conductor Jakub Hrůša is
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Event Details
Jakub Hrůša , conductor
Kateřina Kněžíkov, soprano
Sasha Cooke, mezzo-soprano
Brandon Jovanovich, tenor
Adam Plachetka, bass
Paul Jacobs, organ
Tanglewood Festival Chorus
Boston Symphony Orchestra
Programme
Janáček’s Jealousy
Rachmaninov: Piano Concerto No. 2
Dvořák: Symphony No. 6
Czech conductor Jakub Hrůša is joined by the Tanglewood Festival Chorus in its first BSO concerts since February 2020 in Leoš Janáček’s Glagolitic Mass an affirmation of the composer’s deep-seated identity as a Czech composer and as a Slav. Its music style is colored by Slavic traditional and sacred music, and sounds both ancient and very modern. Opening the program is Janáček’s great Czech predecessor Antonín Dvořák’s Symphony No. 6. One of the finest of Romantic symphonies, it was written for the prestigious Vienna Philharmonic and conductor Hans Richter.
Time
(Saturday) 8:00 pm
Location
Boston Symphony Hall
301 Massachusetts Ave, Boston, MA 02115, United States
04feb1:30 pmBoston, MA USA - Boston Symphony Orchestra - Dvořák, Janáček1:30 pm Boston Symphony Hall

Event Details
Jakub Hrůša , conductor Kateřina Kněžíkov, soprano Sasha Cooke, mezzo-soprano Brandon Jovanovich, tenor Adam Plachetka, bass Paul Jacobs, organ Tanglewood Festival Chorus Boston Symphony Orchestra Programme Janáček’s Jealousy Rachmaninov: Piano Concerto No. 2 Dvořák: Symphony No. 6 Czech conductor Jakub Hrůša is
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Event Details
Jakub Hrůša , conductor
Kateřina Kněžíkov, soprano
Sasha Cooke, mezzo-soprano
Brandon Jovanovich, tenor
Adam Plachetka, bass
Paul Jacobs, organ
Tanglewood Festival Chorus
Boston Symphony Orchestra
Programme
Janáček’s Jealousy
Rachmaninov: Piano Concerto No. 2
Dvořák: Symphony No. 6
Czech conductor Jakub Hrůša is joined by the Tanglewood Festival Chorus in its first BSO concerts since February 2020 in Leoš Janáček’s Glagolitic Mass an affirmation of the composer’s deep-seated identity as a Czech composer and as a Slav. Its music style is colored by Slavic traditional and sacred music, and sounds both ancient and very modern. Opening the program is Janáček’s great Czech predecessor Antonín Dvořák’s Symphony No. 6. One of the finest of Romantic symphonies, it was written for the prestigious Vienna Philharmonic and conductor Hans Richter.
Time
(Friday) 1:30 pm
Location
Boston Symphony Hall
301 Massachusetts Ave, Boston, MA 02115, United States
03feb8:00 pmBoston, MA USA - Boston Symphony Orchestra - Dvořák, Janáček8:00 pm Boston Symphony Hall

Event Details
Jakub Hrůša , conductor Kateřina Kněžíkov, soprano Sasha Cooke, mezzo-soprano Brandon Jovanovich, tenor Adam Plachetka, bass Paul Jacobs, organ Tanglewood Festival Chorus Boston Symphony Orchestra Programme Janáček’s Jealousy Rachmaninov: Piano Concerto No. 2 Dvořák: Symphony No. 6 Czech conductor Jakub Hrůša is
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Event Details
Jakub Hrůša , conductor
Kateřina Kněžíkov, soprano
Sasha Cooke, mezzo-soprano
Brandon Jovanovich, tenor
Adam Plachetka, bass
Paul Jacobs, organ
Tanglewood Festival Chorus
Boston Symphony Orchestra
Programme
Janáček’s Jealousy
Rachmaninov: Piano Concerto No. 2
Dvořák: Symphony No. 6
Czech conductor Jakub Hrůša is joined by the Tanglewood Festival Chorus in its first BSO concerts since February 2020 in Leoš Janáček’s Glagolitic Mass an affirmation of the composer’s deep-seated identity as a Czech composer and as a Slav. Its music style is colored by Slavic traditional and sacred music, and sounds both ancient and very modern. Opening the program is Janáček’s great Czech predecessor Antonín Dvořák’s Symphony No. 6. One of the finest of Romantic symphonies, it was written for the prestigious Vienna Philharmonic and conductor Hans Richter.
Time
(Thursday) 8:00 pm
Location
Boston Symphony Hall
301 Massachusetts Ave, Boston, MA 02115, United States
january 2022
29jan6:00 pmBaden Baden, Germany - Bamberger Symphoniker - Mahler6:00 pm Festspielhaus Baden-Baden

Event Details
Jakub Hrůša Conductor Christina Landshamer, soprano Wiebke Lehmkuhl, alto Wiener Singakademie Bamberger Symphoniker Programme: Gustav Mahler: Symphony No. 2 in C minor (“Resurrection”) It’s sure to be included in a canon of classics: Mahler's “Resurrection” Symphony, one
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Event Details
Jakub Hrůša Conductor
Christina Landshamer, soprano
Wiebke Lehmkuhl, alto
Wiener Singakademie
Bamberger Symphoniker
Programme:
Gustav Mahler: Symphony No. 2 in C minor (“Resurrection”)
It’s sure to be included in a canon of classics: Mahler’s “Resurrection” Symphony, one of the most popular orchestral works of all time, will be performed by the Bamberger Symphoniker, whose latest Mahler recordings brought home all the major awards. A characteristic example of the powerful aesthetic that prevailed around 1900, this monumental symphony featuring choir, solo voice, and off-stage orchestra is hard to surpass in terms of effect. Its structure anticipated the cinematic melodrama: each “scene” escalates into a “catastrophe,” which is followed by the next “scene” – and then the next catastrophe. “I will die in order to live!” the choir proclaims ecstatically. The core of this symphony is life itself, it is addressed to faltering mankind with all our metamorphoses.
Time
(Saturday) 6:00 pm
Location
Festspielhaus Baden-Baden
Beim Alten Bahnhof 2, 76530 Baden-Baden, Germany
27jan8:00 pmVienna, Austria - Bamberger Symphoniker - Mahler8:00 pm Wiener Konzerthaus

Event Details
Jakub Hrůša Conductor Wiener Singakademie (choir director: Heinz Ferlesch) Christina Landshamer Soprano Wiebke Lehmkuhl Alto Programme Gustav Mahler Symphonie Nr. 2 c-Moll This concert ventures into the thrilling spheres of an epic work by the symphonic
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Event Details
Jakub Hrůša Conductor
Wiener Singakademie (choir director: Heinz Ferlesch)
Christina Landshamer Soprano
Wiebke Lehmkuhl Alto
Programme
Gustav Mahler Symphonie Nr. 2 c-Moll
This concert ventures into the thrilling spheres of an epic work by the symphonic philosopher Gustav Mahler, who once confessed: »When I listen to music – even while conducting – I often hear very specific answers to all my questions, and am completely clear and certain.« Mahler was always interested in the intellectual currents of his time, and had a thirst for knowledge that naturally was reflected in his music. The musicologist Constantin Floros has referred to this attitude as »Mahler’s intellectual curiosity«. Mahler’s thinking and composing usually centred on philosophical, religious, and existential questions. His Second Symphony, premiered in 1895 and nicknamed the »Resurrection Symphony«, is one of the symphonies that explores his worldview. The eternal human questions of death and resurrection are evoked in a massive symphonic fresco – incorporating the human voice as the »ultima ratio« of musical annunciation. Mahler called the poignant opening movement »Totenfeier« (funeral ceremony); in the second movement, the light-hearted melodies of the Ländler, a country dance, are heard; and the Scherzo presents a transformation of the song from »Des Knaben Wunderhorn« about St. Anthony’s futile sermon to the fish – until finally the chant of the »Urlicht« (primal light) rises up, intensifying into fervent pleading: »Ich bin von Gott und will wieder zu Gott« (»I am of God and want to return to God«). The Finale, which Mahler says represents a »Great Summons«, at first is characterised by highly agitated outbursts, including an offstage orchestra. But then, as if from another world, a lonely birdcall from the piccolo is heard, and Klopstock’s »Resurrection Ode« rises as if by magic – very cautiously at first, but Mahler gradually increases the tension as the music progresses, coming to a gripping climax in the words: »Sterben werd’ ich, um zu leben! Auferstehen, ja auferstehen wirst du!« – »I will die in order to live! You will be resurrected, yes, resurrected!«
Time
(Thursday) 8:00 pm
Location
Wiener Konzerthaus
25jan8:00 pmBamberg, Germany - Bamberger Symphoniker - Mahler8:00 pm Konzerthalle Bamberg

Event Details
Jakub Hrůša Conductor Wiener Singakademie (choir director: Heinz Ferlesch) Christina Landshamer Soprano Wiebke Lehmkuhl Alto Programme Gustav Mahler Symphonie Nr. 2 c-Moll This concert ventures into the thrilling spheres of an epic work by the symphonic
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Event Details
Jakub Hrůša Conductor
Wiener Singakademie (choir director: Heinz Ferlesch)
Christina Landshamer Soprano
Wiebke Lehmkuhl Alto
Programme
Gustav Mahler Symphonie Nr. 2 c-Moll
This concert ventures into the thrilling spheres of an epic work by the symphonic philosopher Gustav Mahler, who once confessed: »When I listen to music – even while conducting – I often hear very specific answers to all my questions, and am completely clear and certain.« Mahler was always interested in the intellectual currents of his time, and had a thirst for knowledge that naturally was reflected in his music. The musicologist Constantin Floros has referred to this attitude as »Mahler’s intellectual curiosity«. Mahler’s thinking and composing usually centred on philosophical, religious, and existential questions. His Second Symphony, premiered in 1895 and nicknamed the »Resurrection Symphony«, is one of the symphonies that explores his worldview. The eternal human questions of death and resurrection are evoked in a massive symphonic fresco – incorporating the human voice as the »ultima ratio« of musical annunciation. Mahler called the poignant opening movement »Totenfeier« (funeral ceremony); in the second movement, the light-hearted melodies of the Ländler, a country dance, are heard; and the Scherzo presents a transformation of the song from »Des Knaben Wunderhorn« about St. Anthony’s futile sermon to the fish – until finally the chant of the »Urlicht« (primal light) rises up, intensifying into fervent pleading: »Ich bin von Gott und will wieder zu Gott« (»I am of God and want to return to God«). The Finale, which Mahler says represents a »Great Summons«, at first is characterised by highly agitated outbursts, including an offstage orchestra. But then, as if from another world, a lonely birdcall from the piccolo is heard, and Klopstock’s »Resurrection Ode« rises as if by magic – very cautiously at first, but Mahler gradually increases the tension as the music progresses, coming to a gripping climax in the words: »Sterben werd’ ich, um zu leben! Auferstehen, ja auferstehen wirst du!« – »I will die in order to live! You will be resurrected, yes, resurrected!«
Time
(Tuesday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany

Event Details
Jakub Hrůša conductor Sheku Kanneh-Mason cello Alžběta Poláčková soprano Jiří Brückler tenor Jan Šťáva bass Czech Philharmonic Choir of Brno Petr Fiala choirmaster Programme Edward Elgar: Cello Concerto in E minor, Op. 85 Josef Suk: Epilogue, a symphonic work
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Event Details
Jakub Hrůša conductor
Sheku Kanneh-Mason cello
Alžběta Poláčková soprano
Jiří Brückler tenor
Jan Šťáva bass
Czech Philharmonic Choir of Brno
Petr Fiala choirmaster
Programme
Edward Elgar: Cello Concerto in E minor, Op. 85
Josef Suk: Epilogue, a symphonic work for orchestra, large choir, small choir, soprano, baritone, and bass, Op. 37
Introducing himself in Prague in Elgar’s Cello Concerto is 22-year-old British cellist Sheku Kanneh-Mason, who won the BBC Young Musician award in 2016. Recently, Jakub Hrůša has been discovering one important composition after another by Josef Suk. This time he chose Epilogue, a late, mature, and highly sophisticated work in praise of love.
Time
(Saturday) 3:00 pm
Location
Rudolfinum Dvorak Hall

Event Details
Jakub Hrůša conductor Sheku Kanneh-Mason cello Alžběta Poláčková soprano Jiří Brückler tenor Jan Šťáva bass Czech Philharmonic Choir of Brno Petr Fiala choirmaster Programme Edward Elgar: Cello Concerto in E minor, Op. 85 Josef Suk: Epilogue, a symphonic work
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Event Details
Jakub Hrůša conductor
Sheku Kanneh-Mason cello
Alžběta Poláčková soprano
Jiří Brückler tenor
Jan Šťáva bass
Czech Philharmonic Choir of Brno
Petr Fiala choirmaster
Programme
Edward Elgar: Cello Concerto in E minor, Op. 85
Josef Suk: Epilogue, a symphonic work for orchestra, large choir, small choir, soprano, baritone, and bass, Op. 37
Introducing himself in Prague in Elgar’s Cello Concerto is 22-year-old British cellist Sheku Kanneh-Mason, who won the BBC Young Musician award in 2016. Recently, Jakub Hrůša has been discovering one important composition after another by Josef Suk. This time he chose Epilogue, a late, mature, and highly sophisticated work in praise of love.
Time
(Friday) 7:30 pm
Location
Rudolfinum Dvorak Hall

Event Details
Jakub Hrůša conductor Sheku Kanneh-Mason cello Alžběta Poláčková soprano Jiří Brückler tenor Jan Šťáva bass Czech Philharmonic Choir of Brno Petr Fiala choirmaster Programme Edward Elgar: Cello Concerto in E minor, Op. 85 Josef Suk: Epilogue, a symphonic work
more
Event Details
Jakub Hrůša conductor
Sheku Kanneh-Mason cello
Alžběta Poláčková soprano
Jiří Brückler tenor
Jan Šťáva bass
Czech Philharmonic Choir of Brno
Petr Fiala choirmaster
Programme
Edward Elgar: Cello Concerto in E minor, Op. 85
Josef Suk: Epilogue, a symphonic work for orchestra, large choir, small choir, soprano, baritone, and bass, Op. 37
Introducing himself in Prague in Elgar’s Cello Concerto is 22-year-old British cellist Sheku Kanneh-Mason, who won the BBC Young Musician award in 2016. Recently, Jakub Hrůša has been discovering one important composition after another by Josef Suk. This time he chose Epilogue, a late, mature, and highly sophisticated work in praise of love.
Time
(Thursday) 7:30 pm
Location
Rudolfinum Dvorak Hall

Event Details
Jakub Hrůša Conductor Bamberger Symphoniker Programme Gustav Mahler Symphonie Nr. 9 »My symphonies exhaust the content of my entire life; in them, I have set down what I have experienced and suffered, truth and
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Event Details
Jakub Hrůša Conductor
Bamberger Symphoniker
Programme
Gustav Mahler Symphonie Nr. 9
»My symphonies exhaust the content of my entire life; in them, I have set down what I have experienced and suffered, truth and poetry in musical notes. And to a skilled reader, they would indeed transparently reveal my life.« (Gustav Mahler) We want to arouse the »curiosité« of our Parisian audience with a monumental work – and at the same time prove that an interest in composers’ biographies is a sign not of trivial curiosity, but of a thirst for knowledge. Often musical works reflect actual events from their composers’ lives. Mahler in particular is often recognizable as the protagonist of his philosophically influenced works, which carry him through the ups and downs of existence. When he sketched his last complete symphony in the summer of 1909, secluded in his composer’s cottage, his world had been shattered. His four-year-old daughter Maria Anna had died, he had become increasingly estranged from his wife Alma, and he had been diagnosed with a heart valve defect. In this work, he left behind a highly emotional rollercoaster of feelings ranging from deep gloom, melancholy, and pessimism to consolation, from earthly tragedy to transcendental rapture. While he regarded the composition of his early symphonies as »building a world«, the Ninth is more concerned with deconstructing that world. It bids a retrospective farewell to everything that constituted his artistic thinking. Quotations from earlier works appear alongside folk elements, and the Finale is a heartbreaking Adagio movement – all in all, a musical parable of living and dying: in the draft score, Mahler noted the words: »Farewell! O youthful days! Vanished! O, love! Gone with the wind!«
Time
(Sunday) 4:30 pm
Location
Pierre Boulez Hall, Philharmonie Paris
221 Avenue Jean Jaurès, 75019
14jan8:00 pmBamberg, Germany - Bamberger Symphoniker - Mahler8:00 pm Konzerthalle Bamberg

Event Details
Jakub Hrůša Conductor Bamberger Symphoniker Programme Gustav Mahler Symphonie Nr. 9 »My symphonies exhaust the content of my entire life; in them, I have set down what I have experienced and suffered, truth and
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Event Details
Jakub Hrůša Conductor
Bamberger Symphoniker
Programme
Gustav Mahler Symphonie Nr. 9
»My symphonies exhaust the content of my entire life; in them, I have set down what I have experienced and suffered, truth and poetry in musical notes. And to a skilled reader, they would indeed transparently reveal my life.« (Gustav Mahler) We want to arouse the »curiosité« of our Parisian audience with a monumental work – and at the same time prove that an interest in composers’ biographies is a sign not of trivial curiosity, but of a thirst for knowledge. Often musical works reflect actual events from their composers’ lives. Mahler in particular is often recognizable as the protagonist of his philosophically influenced works, which carry him through the ups and downs of existence. When he sketched his last complete symphony in the summer of 1909, secluded in his composer’s cottage, his world had been shattered. His four-year-old daughter Maria Anna had died, he had become increasingly estranged from his wife Alma, and he had been diagnosed with a heart valve defect. In this work, he left behind a highly emotional rollercoaster of feelings ranging from deep gloom, melancholy, and pessimism to consolation, from earthly tragedy to transcendental rapture. While he regarded the composition of his early symphonies as »building a world«, the Ninth is more concerned with deconstructing that world. It bids a retrospective farewell to everything that constituted his artistic thinking. Quotations from earlier works appear alongside folk elements, and the Finale is a heartbreaking Adagio movement – all in all, a musical parable of living and dying: in the draft score, Mahler noted the words: »Farewell! O youthful days! Vanished! O, love! Gone with the wind!«
Time
(Friday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany
december 2021
19dec5:00 pmBamberg, Germany -Bamberger Symphoniker - Fiala, Janáček5:00 pm Konzerthalle Bamberg

Event Details
Jakub Hrůša Conductor Kristina Fialová Viola Czech Philharmonic Choir Brno (choir director: Petr Fiala) Kateřina Kněžíková Soprano Pavel Černoch Tenor Elisabeth Kulman Alto Jan Šťáva Bass Christian Schmitt Organ Bamberger Symphoniker Programme Petr Fiala Stabat Mater Leoš Janáček Glagolitische Messe ("Glagolská
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Event Details
Jakub Hrůša Conductor
Kristina Fialová Viola
Czech Philharmonic Choir Brno (choir director: Petr Fiala)
Kateřina Kněžíková Soprano
Pavel Černoch Tenor
Elisabeth Kulman Alto
Jan Šťáva Bass
Christian Schmitt Organ
Bamberger Symphoniker
Programme
Petr Fiala Stabat Mater
Leoš Janáček Glagolitische Messe (“Glagolská mse”)
This concert revolves around Brno, the home of our chief conductor, the featured composers, and the invited performers – featuring works that deserve to be heard with open and curious ears. Petr Fiala, born in 1943, is the founder and music director of the famous Czech Philharmonic Choir Brno. He studied in Brno, later worked there as a professor himself, and is now an honorary citizen of the city. The award-winning artist has composed more than 180 works that, thanks to his sensitive combination of traditional and contemporary elements, have received great acclaim. It was his heartfelt wish that Jakub Hrůša would one day conduct his »Stabat Mater« – a setting of the medieval poem full of rich musical colour. Fiala’s daughter also features as one of the evening’s soloists. Our programme also includes Janáček’s »Glagolitic Mass«, first performed in Brno in 1927, which differs significantly from other Mass settings and is quite unique within the repertoire of sacred music. When the 72-year-old composer wrote this work, shortly before his death, he consciously wanted to stand out from the Western tradition and spoke confidently of a »joyful mass« inspired by the natural spectacle of a thunderstorm. Although the Mass follows the traditional ordinary from Kyrie to Agnus Dei, the language is not Latin, but 9th-century Church Slavonic. The work is unusual in musical terms, too, for its tone is quite secular. Agitated sections contrast with tender passages. Just before the end, Janáček includes a brilliant organ solo, bringing the Mass to an end by elatedly celebrating the entry into the full-blown, sensuous life of nature.
Time
(Sunday) 5:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany
18dec8:00 pmBamberg, Germany -Bamberger Symphoniker - Fiala, Janáček8:00 pm Konzerthalle Bamberg

Event Details
Jakub Hrůša Conductor Kristina Fialová Viola Czech Philharmonic Choir Brno (choir director: Petr Fiala) Kateřina Kněžíková Soprano Pavel Černoch Tenor Elisabeth Kulman Alto Jan Šťáva Bass Christian Schmitt Organ Bamberger Symphoniker Programme Petr Fiala Stabat Mater Leoš Janáček Glagolitische Messe ("Glagolská
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Event Details
Jakub Hrůša Conductor
Kristina Fialová Viola
Czech Philharmonic Choir Brno (choir director: Petr Fiala)
Kateřina Kněžíková Soprano
Pavel Černoch Tenor
Elisabeth Kulman Alto
Jan Šťáva Bass
Christian Schmitt Organ
Bamberger Symphoniker
Programme
Petr Fiala Stabat Mater
Leoš Janáček Glagolitische Messe (“Glagolská mse”)
This concert revolves around Brno, the home of our chief conductor, the featured composers, and the invited performers – featuring works that deserve to be heard with open and curious ears. Petr Fiala, born in 1943, is the founder and music director of the famous Czech Philharmonic Choir Brno. He studied in Brno, later worked there as a professor himself, and is now an honorary citizen of the city. The award-winning artist has composed more than 180 works that, thanks to his sensitive combination of traditional and contemporary elements, have received great acclaim. It was his heartfelt wish that Jakub Hrůša would one day conduct his »Stabat Mater« – a setting of the medieval poem full of rich musical colour. Fiala’s daughter also features as one of the evening’s soloists. Our programme also includes Janáček’s »Glagolitic Mass«, first performed in Brno in 1927, which differs significantly from other Mass settings and is quite unique within the repertoire of sacred music. When the 72-year-old composer wrote this work, shortly before his death, he consciously wanted to stand out from the Western tradition and spoke confidently of a »joyful mass« inspired by the natural spectacle of a thunderstorm. Although the Mass follows the traditional ordinary from Kyrie to Agnus Dei, the language is not Latin, but 9th-century Church Slavonic. The work is unusual in musical terms, too, for its tone is quite secular. Agitated sections contrast with tender passages. Just before the end, Janáček includes a brilliant organ solo, bringing the Mass to an end by elatedly celebrating the entry into the full-blown, sensuous life of nature.
Time
(Saturday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany

Event Details
Jakub Hrůša conductor Frank Peter Zimmerman, violin Bamberger Symphoniker Programme Robert Schumann Konzert für Violine und Orchester d-Moll Anton Bruckner Symphonie Nr. 9 d-Moll Robert Schumann had his very own recipe for keeping his listeners’ curiosity alive: »The audience
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Event Details
Jakub Hrůša conductor
Frank Peter Zimmerman, violin
Bamberger Symphoniker
Programme
Robert Schumann Konzert für Violine und Orchester d-Moll
Anton Bruckner Symphonie Nr. 9 d-Moll
Robert Schumann had his very own recipe for keeping his listeners’ curiosity alive: »The audience sometimes needs to be impressed. They become indifferent the moment they are made too comfortable. But if the composer throws a stone towards them now and again, or even at their heads, they will all duck in fear and sing your praises once the piece has ended.« Schumann built a few »musical stones« into his wonderful violin concerto: it was written in 1853 for Joseph Joachim, but when it was finished, Joachim complained that some passages were »rhythmically wayward« and »excruciatingly difficult« – and refused to play it. And thus the concerto disappeared from the repertoire for more than 80 years, pigeonholed as the work of a madman. Quite undeservedly so, as it is full of enchanting passages, as our soloist will demonstrate impressively: Frank Peter Zimmermann, whom we accompanied in his very first performance with an orchestra at the beginning of his career – and with whom we feel a strong artistic connection. Next, we will present Bruckner’s final symphonic sound cosmos. Bruckner’s gargantuan works likewise caused many to shake their heads, some critics even accusing him of writing the same symphony nine times. Despite this, Bruckner’s contemporaries were always curious about the works of the »church musician of the concert hall« – including, of course, the three-movement torso of the Ninth Symphony, written in 1896, the year of Bruckner’s death. First performed in 1903, the symphony is an impressive aural journey and, according to the testimony of Bruckner’s physician, dedicated to »the majesty of all majesties, dear God« – »if he wants to accept it«, as the deeply devout composer reverently added.
Time
(Saturday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany

Event Details
Jakub Hrůša conductor Frank Peter Zimmerman, violin Bamberger Symphoniker Programme Robert Schumann Konzert für Violine und Orchester d-Moll Anton Bruckner Symphonie Nr. 9 d-Moll Robert Schumann had his very own recipe for keeping his listeners’ curiosity alive: »The audience
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Event Details
Jakub Hrůša conductor
Frank Peter Zimmerman, violin
Bamberger Symphoniker
Programme
Robert Schumann Konzert für Violine und Orchester d-Moll
Anton Bruckner Symphonie Nr. 9 d-Moll
Robert Schumann had his very own recipe for keeping his listeners’ curiosity alive: »The audience sometimes needs to be impressed. They become indifferent the moment they are made too comfortable. But if the composer throws a stone towards them now and again, or even at their heads, they will all duck in fear and sing your praises once the piece has ended.« Schumann built a few »musical stones« into his wonderful violin concerto: it was written in 1853 for Joseph Joachim, but when it was finished, Joachim complained that some passages were »rhythmically wayward« and »excruciatingly difficult« – and refused to play it. And thus the concerto disappeared from the repertoire for more than 80 years, pigeonholed as the work of a madman. Quite undeservedly so, as it is full of enchanting passages, as our soloist will demonstrate impressively: Frank Peter Zimmermann, whom we accompanied in his very first performance with an orchestra at the beginning of his career – and with whom we feel a strong artistic connection. Next, we will present Bruckner’s final symphonic sound cosmos. Bruckner’s gargantuan works likewise caused many to shake their heads, some critics even accusing him of writing the same symphony nine times. Despite this, Bruckner’s contemporaries were always curious about the works of the »church musician of the concert hall« – including, of course, the three-movement torso of the Ninth Symphony, written in 1896, the year of Bruckner’s death. First performed in 1903, the symphony is an impressive aural journey and, according to the testimony of Bruckner’s physician, dedicated to »the majesty of all majesties, dear God« – »if he wants to accept it«, as the deeply devout composer reverently added.
Time
(Thursday) 8:00 pm
Location
Liederhalle
Berliner Platz 1-3 D - 70174 Stuttgart

Event Details
Jakub Hrůša, Conductor Performing with Josef Špaček violin, guest artist Czech Philharmonic Programme Slavomír Hořínka: Rejoice III (world première) Bohuslav Martinů: Violin Concerto No. 1, H 226 Josef Suk: A Summer's Tale, Musical Poem for Large Orchestra,
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Event Details
Jakub Hrůša, Conductor
Performing with
Josef Špaček violin, guest artist
Czech Philharmonic
Programme
Slavomír Hořínka: Rejoice III (world première)
Bohuslav Martinů: Violin Concerto No. 1, H 226
Josef Suk: A Summer’s Tale, Musical Poem for Large Orchestra, Op. 29
It is only natural that Slavomír Hořínka, a finalist of the first competition held by the Czech Philharmonic in 2014, was been commissioned to write a new work. The orchestra’s guest artist Josef Špaček chose Bohuslava Martinů’s Violin Concerto No. 1, and Jakub Hrůša will be conducting Josef Bohuslav Foerster’s Symphony No. 5.
Time
(Friday) 7:30 pm
Location
Rudolfinum Dvorak Hall

Event Details
Jakub Hrůša, Conductor Performing with Josef Špaček violin, guest artist Czech Philharmonic Programme Slavomír Hořínka: Rejoice III (world première) Bohuslav Martinů: Violin Concerto No. 1, H 226 Josef Suk: A Summer's Tale, Musical Poem for Large Orchestra,
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Event Details
Jakub Hrůša, Conductor
Performing with
Josef Špaček violin, guest artist
Czech Philharmonic
Programme
Slavomír Hořínka: Rejoice III (world première)
Bohuslav Martinů: Violin Concerto No. 1, H 226
Josef Suk: A Summer’s Tale, Musical Poem for Large Orchestra, Op. 29
It is only natural that Slavomír Hořínka, a finalist of the first competition held by the Czech Philharmonic in 2014, was been commissioned to write a new work. The orchestra’s guest artist Josef Špaček chose Bohuslava Martinů’s Violin Concerto No. 1, and Jakub Hrůša will be conducting Josef Bohuslav Foerster’s Symphony No. 5.
Time
(Thursday) 7:30 pm
Location
Rudolfinum Dvorak Hall

Event Details
Jakub Hrůša, Conductor Performing with Josef Špaček violin, guest artist Czech Philharmonic Programme Slavomír Hořínka: Rejoice III (world première) Bohuslav Martinů: Violin Concerto No. 1, H 226 Josef Suk: A Summer's Tale, Musical Poem for Large Orchestra,
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Event Details
Jakub Hrůša, Conductor
Performing with
Josef Špaček violin, guest artist
Czech Philharmonic
Programme
Slavomír Hořínka: Rejoice III (world première)
Bohuslav Martinů: Violin Concerto No. 1, H 226
Josef Suk: A Summer’s Tale, Musical Poem for Large Orchestra, Op. 29
It is only natural that Slavomír Hořínka, a finalist of the first competition held by the Czech Philharmonic in 2014, was been commissioned to write a new work. The orchestra’s guest artist Josef Špaček chose Bohuslava Martinů’s Violin Concerto No. 1, and Jakub Hrůša will be conducting Josef Bohuslav Foerster’s Symphony No. 5.
Time
(Wednesday) 7:30 pm
Location
Rudolfinum Dvorak Hall
november 2021
27nov8:00 pmBad Kissingen, Germany - Bamberger Symphoniker - Shchedrin, Bruckner8:00 pm Regentenbau

Event Details
Jakub Hrůša, Dirigent Anika Vavić, Klavier Bamberger Symphoniker Programme Rodion Shchedrin: Konzert für Klavier und Orchester Nr. 4 Anton Bruckner: Symphonie Nr. 9 d-Moll »The piano concerto was always the testing ground for my experiments.« This
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Event Details
Jakub Hrůša, Dirigent
Anika Vavić, Klavier
Bamberger Symphoniker
Programme
Rodion Shchedrin: Konzert für Klavier und Orchester Nr. 4
Anton Bruckner: Symphonie Nr. 9 d-Moll
»The piano concerto was always the testing ground for my experiments.« This concert presents Rodion Shchedrin, a composer born in Moscow in 1932 who now also lives in Munich, and who has long piqued our curiosity. His extensive oeuvre has always drawn on previous generations while being equally open to new influences at the same time. Steinway commissioned his fourth piano concerto in 1991 – and it is truly an emotional ode to the instrument. The work bears the subtitle »Sharp Keys«, captivating listeners with its fascinating tonal colour and sound effects. We welcome the celebrated pianist Anika Vavić as an expert performer of Shchedrin’s works: she performed the Russian as well as the Austrian and German premieres of the concerto and worked closely with the composer to develop the refined solo part – which still piques her curiosity: »The more I play the work, the more exciting it becomes for me.« Then, to mark the 125th anniversary of his death, we will dive into a »divine« confessional work by Anton Bruckner that our principal conductor has studied intensely. For many decades, the symphonic genre was Bruckner’s preferred field of endeavour. But like many other composers, he had a problem with the number nine, which, according to Beethoven’s symphonic legacy, was seen as a magical and indeed oppressive boundary. Fearfully, Bruckner said: »I don’t want to begin the Ninth at all, I daren’t.« But obviously his urge to create was too great, and in 1896 he completed a torso of only three movements dedicated »to dear God«, dying the same year. The symphony is a masterly swansong, with a heartfelt Adagio that Bruckner tellingly wanted to be understood as a »farewell to life«.
Time
(Saturday) 8:00 pm
Location
Regentenbau
Ludwigstraße 2, 97688 Bad Kissingen, Germany

Event Details
Jakub Hrůša, Dirigent Anika Vavić, Klavier Bamberger Symphoniker Programme Rodion Shchedrin: Konzert für Klavier und Orchester Nr. 4 Anton Bruckner: Symphonie Nr. 9 d-Moll »The piano concerto was always the testing ground for my experiments.« This
more
Event Details
Jakub Hrůša, Dirigent
Anika Vavić, Klavier
Bamberger Symphoniker
Programme
Rodion Shchedrin: Konzert für Klavier und Orchester Nr. 4
Anton Bruckner: Symphonie Nr. 9 d-Moll
»The piano concerto was always the testing ground for my experiments.« This concert presents Rodion Shchedrin, a composer born in Moscow in 1932 who now also lives in Munich, and who has long piqued our curiosity. His extensive oeuvre has always drawn on previous generations while being equally open to new influences at the same time. Steinway commissioned his fourth piano concerto in 1991 – and it is truly an emotional ode to the instrument. The work bears the subtitle »Sharp Keys«, captivating listeners with its fascinating tonal colour and sound effects. We welcome the celebrated pianist Anika Vavić as an expert performer of Shchedrin’s works: she performed the Russian as well as the Austrian and German premieres of the concerto and worked closely with the composer to develop the refined solo part – which still piques her curiosity: »The more I play the work, the more exciting it becomes for me.« Then, to mark the 125th anniversary of his death, we will dive into a »divine« confessional work by Anton Bruckner that our principal conductor has studied intensely. For many decades, the symphonic genre was Bruckner’s preferred field of endeavour. But like many other composers, he had a problem with the number nine, which, according to Beethoven’s symphonic legacy, was seen as a magical and indeed oppressive boundary. Fearfully, Bruckner said: »I don’t want to begin the Ninth at all, I daren’t.« But obviously his urge to create was too great, and in 1896 he completed a torso of only three movements dedicated »to dear God«, dying the same year. The symphony is a masterly swansong, with a heartfelt Adagio that Bruckner tellingly wanted to be understood as a »farewell to life«.
Time
(Friday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany

Event Details
Jakub Hrůša Conductor Performing with Kian Soltani, cello Czech Philharmonic Programme Antonín Dvořák Concerto for Cello and Orchestra in B minor, Op. 104 Symphony No. 8 in G major, Op. 88 "English" In November, the Czech Philharmonic will
Event Details
Jakub Hrůša Conductor
Performing with
Kian Soltani, cello
Czech Philharmonic
Programme
Antonín Dvořák
Concerto for Cello and Orchestra in B minor, Op. 104
Symphony No. 8 in G major, Op. 88 “English”
In November, the Czech Philharmonic will perform in Western Bohemia. At the Karlovy Vary Municipal Theater, Kian Soltani, one of the most prominent cellists of today, will join the orchestra under the direction of the main guest conductor Jakub Hrůša. Dvořák’s Concerto for Cello and Orchestra and the English Symphony will be performed.
Time
(Saturday) 6:00 pm
Location
Municipal Theater Karlovy Vary
Divadelní nám. 21, 360 01 Karlovy Vary, Czechia

Event Details
Jakub Hrůša, Conductor Performing with Yuja Wang piano Czech Philharmonic Programme Sergei Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18 Leoš Janáček: Suite for orchestra, Op. 3 Witold Lutosławski: Concerto for Orchestra The programme for the
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Event Details
Jakub Hrůša, Conductor
Performing with
Yuja Wang piano
Czech Philharmonic
Programme
Sergei Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18
Leoš Janáček: Suite for orchestra, Op. 3
Witold Lutosławski: Concerto for Orchestra
The programme for the Velvet Revolution Concerts includes 20th century works composed under difficult circumstances or with a troubled fate. Jakub Hrůša put together an original “Slavonic” programme of early works by Sergei Rachmaninoff, Leoš Janáček, and Witold Lutosławski (Poland), who faced censorship because of artistic and civic ideals.
Time
(Thursday) 7:30 pm
Location
Rudolfinum Dvorak Hall

Event Details
Jakub Hrůša, Conductor Performing with Yuja Wang piano Czech Philharmonic Programme Sergei Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18 Leoš Janáček: Suite for orchestra, Op. 3 Witold Lutosławski: Concerto for Orchestra The programme for the
more
Event Details
Jakub Hrůša, Conductor
Performing with
Yuja Wang piano
Czech Philharmonic
Programme
Sergei Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18
Leoš Janáček: Suite for orchestra, Op. 3
Witold Lutosławski: Concerto for Orchestra
The programme for the Velvet Revolution Concerts includes 20th century works composed under difficult circumstances or with a troubled fate. Jakub Hrůša put together an original “Slavonic” programme of early works by Sergei Rachmaninoff, Leoš Janáček, and Witold Lutosławski (Poland), who faced censorship because of artistic and civic ideals.
Time
(Wednesday) 7:30 pm
Location
Rudolfinum Dvorak Hall

Event Details
Jakub Hrůša, Conductor Performing with Joélle Harvey soprano Chicago Symphony Orchestra Programme Coleridge-Taylor: Ballade in A Minor Barber: Knoxville: Summer of 1915 Dvořák: Symphony No. 6 Jakub Hrůša conducts a joyful portrait of his Czech homeland in Dvořák’s
Event Details
Jakub Hrůša, Conductor
Performing with
Joélle Harvey soprano
Chicago Symphony Orchestra
Programme
Coleridge-Taylor: Ballade in A Minor
Barber: Knoxville: Summer of 1915
Dvořák: Symphony No. 6
Jakub Hrůša conducts a joyful portrait of his Czech homeland in Dvořák’s folk-infused Sixth Symphony. Radiant soprano Joélle Harvey makes her CSO debut in Barber’s nostalgic recollection of small-town America. Opening the program is Coleridge-Taylor’s 1898 breakthrough score, the rhapsodic Ballade.
Time
(Saturday) 8:00 pm
Location
Chicago Symphony Orchestra

Event Details
Jakub Hrůša, Conductor Performing with Joélle Harvey soprano Chicago Symphony Orchestra Programme Coleridge-Taylor: Ballade in A Minor Barber: Knoxville: Summer of 1915 Dvořák: Symphony No. 6 Jakub Hrůša conducts a joyful portrait of his Czech homeland in Dvořák’s
Event Details
Jakub Hrůša, Conductor
Performing with
Joélle Harvey soprano
Chicago Symphony Orchestra
Programme
Coleridge-Taylor: Ballade in A Minor
Barber: Knoxville: Summer of 1915
Dvořák: Symphony No. 6
Jakub Hrůša conducts a joyful portrait of his Czech homeland in Dvořák’s folk-infused Sixth Symphony. Radiant soprano Joélle Harvey makes her CSO debut in Barber’s nostalgic recollection of small-town America. Opening the program is Coleridge-Taylor’s 1898 breakthrough score, the rhapsodic Ballade.
Time
(Friday) 1:30 pm
Location
Chicago Symphony Orchestra

Event Details
Jakub Hrůša, Conductor Performing with Joélle Harvey soprano Chicago Symphony Orchestra Programme Coleridge-Taylor: Ballade in A Minor Barber: Knoxville: Summer of 1915 Dvořák: Symphony No. 6 Jakub Hrůša conducts a joyful portrait of his Czech homeland in Dvořák’s
Event Details
Jakub Hrůša, Conductor
Performing with
Joélle Harvey soprano
Chicago Symphony Orchestra
Programme
Coleridge-Taylor: Ballade in A Minor
Barber: Knoxville: Summer of 1915
Dvořák: Symphony No. 6
Jakub Hrůša conducts a joyful portrait of his Czech homeland in Dvořák’s folk-infused Sixth Symphony. Radiant soprano Joélle Harvey makes her CSO debut in Barber’s nostalgic recollection of small-town America. Opening the program is Coleridge-Taylor’s 1898 breakthrough score, the rhapsodic Ballade.
Time
(Thursday) 7:30 pm
Location
Chicago Symphony Orchestra

Event Details
Jakub Hrůša, Conductor Performing with Sheku Kanneh-Mason, cello The Cleveland Orchestra Programme COLERIDGE-TAYLOR: Ballade in A minor ELGAR: Cello Concerto in E minor DVOŘÁK: Symphony No. 6 in D major
Event Details
Jakub Hrůša, Conductor
Performing with
Sheku Kanneh-Mason, cello
The Cleveland Orchestra
Programme
COLERIDGE-TAYLOR: Ballade in A minor
ELGAR: Cello Concerto in E minor
DVOŘÁK: Symphony No. 6 in D major
Time
(Sunday) 3:00 pm
Location
Severance Hall

Event Details
Jakub Hrůša, Conductor Performing with Sheku Kanneh-Mason, cello The Cleveland Orchestra Programme COLERIDGE-TAYLOR: Ballade in A minor ELGAR: Cello Concerto in E minor DVOŘÁK: Symphony No. 6 in D major
Event Details
Jakub Hrůša, Conductor
Performing with
Sheku Kanneh-Mason, cello
The Cleveland Orchestra
Programme
COLERIDGE-TAYLOR: Ballade in A minor
ELGAR: Cello Concerto in E minor
DVOŘÁK: Symphony No. 6 in D major
Time
(Saturday) 8:00 pm
Location
Severance Hall

Event Details
Jakub Hrůša, Conductor Performing with Sheku Kanneh-Mason, cello The Cleveland Orchestra Programme COLERIDGE-TAYLOR: Ballade in A minor ELGAR: Cello Concerto in E minor DVOŘÁK: Symphony No. 6 in D major
Event Details
Jakub Hrůša, Conductor
Performing with
Sheku Kanneh-Mason, cello
The Cleveland Orchestra
Programme
COLERIDGE-TAYLOR: Ballade in A minor
ELGAR: Cello Concerto in E minor
DVOŘÁK: Symphony No. 6 in D major
Time
(Friday) 7:30 pm
Location
Severance Hall

Event Details
Jakub Hrůša, Conductor Performing with Sheku Kanneh-Mason, cello The Cleveland Orchestra Programme COLERIDGE-TAYLOR: Ballade in A minor ELGAR: Cello Concerto in E minor DVOŘÁK: Symphony No. 6 in D major
Event Details
Jakub Hrůša, Conductor
Performing with
Sheku Kanneh-Mason, cello
The Cleveland Orchestra
Programme
COLERIDGE-TAYLOR: Ballade in A minor
ELGAR: Cello Concerto in E minor
DVOŘÁK: Symphony No. 6 in D major
Time
(Thursday) 7:30 pm
Location
Severance Hall
october 2021

Event Details
Jakub Hrůša, Conductor Performing with Isabelle Faust, Violin Symphonieorchester des Bayerischen Rundfunks Programme Miloslav Kabeláč: The Mystery of Time, op. 31 - Mystery of Time, op. 31 Benjamin Britten: Violin Concerto in D Minor, op.15 Dmitri Shostakovich:
Event Details
Jakub Hrůša, Conductor
Performing with
Isabelle Faust, Violin
Symphonieorchester des Bayerischen Rundfunks
Programme
Miloslav Kabeláč: The Mystery of Time, op. 31 – Mystery of Time, op. 31
Benjamin Britten: Violin Concerto in D Minor, op.15
Dmitri Shostakovich: Symphony No. 1 in F Minor, op. 10
Time
(Friday) 8:00 pm
Location
Isarphilharmonie
Hans-Preißinger-Straße 8, 81379 München, Germany

Event Details
Jakub Hrůša, Conductor Performing with Isabelle Faust, Violin Symphonieorchester des Bayerischen Rundfunks Programme Miloslav Kabeláč: The Mystery of Time, op. 31 - Mystery of Time, op. 31 Benjamin Britten: Violin Concerto in D Minor, op.15 Dmitri Shostakovich:
Event Details
Jakub Hrůša, Conductor
Performing with
Isabelle Faust, Violin
Symphonieorchester des Bayerischen Rundfunks
Programme
Miloslav Kabeláč: The Mystery of Time, op. 31 – Mystery of Time, op. 31
Benjamin Britten: Violin Concerto in D Minor, op.15
Dmitri Shostakovich: Symphony No. 1 in F Minor, op. 10
Time
(Thursday) 8:00 pm
Location
Isarphilharmonie
Hans-Preißinger-Straße 8, 81379 München, Germany

Event Details
Jakub Hrůša, Conductor Performing with Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia Rachel Willis-Sørensen, soprano Wiebke Lehmkuhl, alto Programme Mahler: Symphony No. 2 “Resurrection”
Event Details
Jakub Hrůša, Conductor
Performing with
Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia
Rachel Willis-Sørensen, soprano
Wiebke Lehmkuhl, alto
Programme
Mahler: Symphony No. 2 “Resurrection”
Time
(Saturday) 6:00 pm
Location
Academia Nazionale die Santa Cecilia

Event Details
Jakub Hrůša, Conductor Performing with Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia Rachel Willis-Sørensen, soprano Wiebke Lehmkuhl, alto Programme Mahler: Symphony No. 2 “Resurrection”
Event Details
Jakub Hrůša, Conductor
Performing with
Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia
Rachel Willis-Sørensen, soprano
Wiebke Lehmkuhl, alto
Programme
Mahler: Symphony No. 2 “Resurrection”
Time
(Friday) 8:30 pm
Location
Academia Nazionale die Santa Cecilia

Event Details
Jakub Hrůša, Conductor Performing with Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia Rachel Willis-Sørensen, soprano Wiebke Lehmkuhl, alto Programme Mahler: Symphony No. 2 “Resurrection”
Event Details
Jakub Hrůša, Conductor
Performing with
Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia
Rachel Willis-Sørensen, soprano
Wiebke Lehmkuhl, alto
Programme
Mahler: Symphony No. 2 “Resurrection”
Time
(Thursday) 7:30 pm
Location
Academia Nazionale die Santa Cecilia
september 2021

Event Details
ROTT REDISCOVERED Education Konzert Jakub Hrůša, Dirigent Bamberger Symphoniker Hans Rott Symphonie Nr. 1 E-Dur
Event Details
ROTT REDISCOVERED
Education Konzert
Jakub Hrůša, Dirigent
Bamberger Symphoniker
Hans Rott
Symphonie Nr. 1 E-Dur
Time
(Wednesday) 11:00 am
Location
Brucknerhaus
Untere Donaulände 7, 4010 Linz, Austria
28sep7:30 pmLinz, Austria - Bamberger Symphoniker - Wolf, Mahler, Rott7:30 pm Brucknerhaus

Event Details
LUCERNE FESTIVAL Jakub Hrůša, Dirigent Michael Nagy, Bariton Bamberger Symphoniker Programme Hugo Wolf Scherzo und Finale Gustav Mahler »Lieder eines fahrenden Gesellen« Hans Rott Symphonie Nr. 1 E-Dur
Event Details
LUCERNE FESTIVAL
Jakub Hrůša, Dirigent
Michael Nagy, Bariton
Bamberger Symphoniker
Programme
Hugo Wolf
Scherzo und Finale
Gustav Mahler
»Lieder eines fahrenden Gesellen«
Hans Rott
Symphonie Nr. 1 E-Dur
Time
(Tuesday) 7:30 pm
Location
Brucknerhaus
Untere Donaulände 7, 4010 Linz, Austria

Event Details
LUCERNE FESTIVAL Jakub Hrůša, Dirigent Michael Nagy, Bariton Bamberger Symphoniker Programme Hugo Wolf Scherzo und Finale Gustav Mahler »Lieder eines fahrenden Gesellen« Hans Rott Symphonie Nr. 1 E-Dur
Event Details
LUCERNE FESTIVAL
Jakub Hrůša, Dirigent
Michael Nagy, Bariton
Bamberger Symphoniker
Programme
Hugo Wolf
Scherzo und Finale
Gustav Mahler
»Lieder eines fahrenden Gesellen«
Hans Rott
Symphonie Nr. 1 E-Dur
Time
(Monday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany

Event Details
Dvořák Prague Festival Jakub Hrůša, Dirigent Jan Mráček, Violine Bamberger Symphoniker Programme Vítězslav Novák »Lady Godiva« Ouvertüre Erich Wolfgang Korngold Konzert für Violine und Orchester D-Dur op. 35 Antonín Dvořák Slawische Tänze
Event Details
Dvořák Prague Festival
Jakub Hrůša, Dirigent
Jan Mráček, Violine
Bamberger Symphoniker
Programme
Vítězslav Novák
»Lady Godiva« Ouvertüre
Erich Wolfgang Korngold
Konzert für Violine und Orchester D-Dur op. 35
Antonín Dvořák
Slawische Tänze
Time
(Tuesday) 8:00 pm
Location
Rudolfinum Dvorak Hall

Event Details
Dvořák Prague Festival Jakub Hrůša, Dirigent Kateřina Kněžíková, Sopran Bamberger Symphoniker Programme Gustav Mahler Adagietto aus der Symphonie Nr. 5 cis-Moll Richard Strauss Vier letzte Lieder Josef Bohuslav Foerster Symphonie Nr. 4 c-Moll op. 54
Event Details
Dvořák Prague Festival
Jakub Hrůša, Dirigent
Kateřina Kněžíková, Sopran
Bamberger Symphoniker
Programme
Gustav Mahler
Adagietto aus der Symphonie Nr. 5 cis-Moll
Richard Strauss
Vier letzte Lieder
Josef Bohuslav Foerster
Symphonie Nr. 4 c-Moll op. 54
Time
(Sunday) 8:00 pm
Location
Rudolfinum Dvorak Hall

Event Details
LUCERNE FESTIVAL Jakub Hrůša, Dirigent Jan Mráček, Violine Bamberger Symphoniker Programme Vítězslav Novák »Lady Godiva« Ouvertüre Erich Wolfgang Korngold Konzert für Violine und Orchester D-Dur op. 35 Antonín Dvořák Slawische Tänze
Event Details
LUCERNE FESTIVAL
Jakub Hrůša, Dirigent
Jan Mráček, Violine
Bamberger Symphoniker
Programme
Vítězslav Novák
»Lady Godiva« Ouvertüre
Erich Wolfgang Korngold
Konzert für Violine und Orchester D-Dur op. 35
Antonín Dvořák
Slawische Tänze
Time
(Friday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany

Event Details
LUCERNE FESTIVAL Jakub Hrůša, Dirigent Kateřina Kněžíková, Sopran Bamberger Symphoniker Programme Gustav Mahler Adagietto aus der Symphonie Nr. 5 cis-Moll Richard Strauss Vier letzte Lieder Josef Bohuslav Foerster Symphonie Nr. 4 c-Moll op. 54
Event Details
LUCERNE FESTIVAL
Jakub Hrůša, Dirigent
Kateřina Kněžíková, Sopran
Bamberger Symphoniker
Programme
Gustav Mahler
Adagietto aus der Symphonie Nr. 5 cis-Moll
Richard Strauss
Vier letzte Lieder
Josef Bohuslav Foerster
Symphonie Nr. 4 c-Moll op. 54
Time
(Thursday) 8:00 pm
Location
Konzerthalle Bamberg
Mußstraße 1, 96047 Bamberg, Germany

Event Details
Jakub Hrůša Conductor Performing with Berliner Philharmoniker Andrew Watts countertenor Tölzer Knabenchor Programme Olga Neuwirth: Keyframes for a Hippogriff − Musical Calligrams in memoriam Hester Diamond (commissioned jointly by the Berliner Philharmoniker Foundation, the New York Philharmonic
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Event Details
Jakub Hrůša Conductor
Performing with
Berliner Philharmoniker
Andrew Watts countertenor
Tölzer Knabenchor
Programme
Olga Neuwirth: Keyframes for a Hippogriff − Musical Calligrams in memoriam Hester Diamond
(commissioned jointly by the Berliner Philharmoniker Foundation, the New York Philharmonic and the Royal Stockholm Philharmonic Orchestra Première)
Anton Bruckner: Symphony No. 4 in E flat major “Romantic” (2nd version from 1878/1880)
We can quickly hear why Anton Bruckner called his Fourth Symphony “Romantic”. There is a distinct feeling of longing and closeness to nature – for instance, in the horn call at the beginning, the melancholy singing of the strings and the vigorous sounds of the hunt. Jakub Hrůša, chief conductor of the Bamberger Symphoniker, leads the orchestra in this concert. He also conducts the world premiere of Keyframes for a Hippogriff by Olga Neuwirth, one of the most prominent composers of our time. According to the composer, the work is about trying “to remain a free soul despite the despair and pain in this world”.
Time
(Sunday) 7:00 pm
Location
Berliner Philharmonie
Herbert-von-Karajan-Straße 1, 10785 Berlin, Germany

Event Details
Jakub Hrůša Conductor Performing with Berliner Philharmoniker Andrew Watts countertenor Tölzer Knabenchor Programme Olga Neuwirth: Keyframes for a Hippogriff − Musical Calligrams in memoriam Hester Diamond (commissioned jointly by the Berliner Philharmoniker Foundation, the New York Philharmonic
more
Event Details
Jakub Hrůša Conductor
Performing with
Berliner Philharmoniker
Andrew Watts countertenor
Tölzer Knabenchor
Programme
Olga Neuwirth: Keyframes for a Hippogriff − Musical Calligrams in memoriam Hester Diamond
(commissioned jointly by the Berliner Philharmoniker Foundation, the New York Philharmonic and the Royal Stockholm Philharmonic Orchestra Première)
Anton Bruckner: Symphony No. 4 in E flat major “Romantic” (2nd version from 1878/1880)
We can quickly hear why Anton Bruckner called his Fourth Symphony “Romantic”. There is a distinct feeling of longing and closeness to nature – for instance, in the horn call at the beginning, the melancholy singing of the strings and the vigorous sounds of the hunt. Jakub Hrůša, chief conductor of the Bamberger Symphoniker, leads the orchestra in this concert. He also conducts the world premiere of Keyframes for a Hippogriff by Olga Neuwirth, one of the most prominent composers of our time. According to the composer, the work is about trying “to remain a free soul despite the despair and pain in this world”.
Time
(Saturday) 7:00 pm
Location
Berliner Philharmonie
Herbert-von-Karajan-Straße 1, 10785 Berlin, Germany

Event Details
LUCERNE FESTIVAL Jakub Hrůša, Dirigent Juliane Banse, Sopran Ilya Gringolts, Violine Bamberger Symphoniker Iris Szeghy »Offertorium« für Sopran und Orchester Nach einem Gedicht von Emily Dickinson Uraufführung Beat Furrer Konzert für Violine und Orchester Schweizer Uraufführung Miroslav Srnka »move« 01-04 für Orchester Erste Gesamtaufführung
Event Details
LUCERNE FESTIVAL
Jakub Hrůša, Dirigent
Juliane Banse, Sopran
Ilya Gringolts, Violine
Bamberger Symphoniker
Iris Szeghy
»Offertorium« für Sopran und Orchester
Nach einem Gedicht von Emily Dickinson
Uraufführung
Beat Furrer
Konzert für Violine und Orchester
Schweizer Uraufführung
Miroslav Srnka
»move« 01-04 für Orchester
Erste Gesamtaufführung aller bestehenden
Teile (»move« 01-03 in revidierten Fassungen,
Erstaufführungen)
Time
(Monday) 7:30 pm
Location
KKL Luzern, Concert Hall
Europaplatz 1, 6005 Luzern, Switzerland
july 2021

Event Details
Jakub Hrůša, Conductor Performing with Lucas Debargue, Piano Giulia Semenzato, Soprano Hanno Müller-Brachmann, Baritone Kammerorchester Basel Programme Wolfgang Amadeus Mozart (1756–1791) Symphony no. 38 in D major, "Prague Symphony", KV 504 Piano Concerto No. 23 in A major, KV
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Event Details
Jakub Hrůša, Conductor
Performing with
Lucas Debargue, Piano
Giulia Semenzato, Soprano
Hanno Müller-Brachmann, Baritone
Kammerorchester Basel
Programme
Wolfgang Amadeus Mozart (1756–1791)
Symphony no. 38 in D major, “Prague Symphony”, KV 504
Piano Concerto No. 23 in A major, KV 488
Overture from “The Marriage of Figaro”, KV 492
Aria “Giunse al fin il momento – deh vieni non tardar” from “The Marriage of Figaro”, KV 492
Aria “Tutto è disposto”
from “The Marriage of Figaro”, KV 492
Aria “Crudele? Non mi dir”
from “Don Giovanni”, KV 527
Aria “Madamina, il catalago è questo”
from “Don Giovanni”, KV 527
Duettino “Crudel! Perché finora farmi languir così?” from “The Marriage of Figaro”, KV 492
Duet “Cinque… dieci… venti… trenta…”
from “The Marriage of Figaro”, KV 492
Klosters Music 2021 dedicates the opening concert to the great composer Mozart and his love for the Bohemian city of Prague.
It is hardly surprising that Prague, one of the musical capitals of 18th Century Europe, was home to many fine ensembles and had a vibrant operatic tradition. It attracted Mozart and his contemporaries who were impressed by its charisma and charm. Mozart (1756-1791) visited Prague at least 4 times and was idolised by its public. Le nozze di Figaro and Don Giovanni were performed to great acclaim and La clemenza di Tito was commissioned for the coronation of the King of Bohemia in 1791.
Mozart’s Symphony no 38 was premiered in Prague in 1787. Straining the limits of what his orchestra can do, Mozart creates a tumult of symphonic imagination and riotous creativity. A lifetime of listening will not exhaust its richness. We are delighted to welcome the leading Czech conductor, Jakub Hrůša and The Basel Chamber Orchestra to Klosters for what promises to be a definitive performance of this work. The A major piano concerto of Wolfgang Amadeus Mozart is a work of lyricism and serenity, elegant and flowing. It is recognised as one of Mozart’s greatest achievements. The French pianist Lucas Debargue, a Laureate of the XV Tchaikovsky Piano Competition in Moscow where he was awarded the critics’ prize for his incredible gifts, artistic vision and creative freedom, will perform this sublime work. A selection of Arias from Don Giovanni and La nozze di Figaro complete the program.
Time
(Saturday) 7:30 pm
Location
Concert Hall, Arena Klosters
Doggilochstrasse 51, 7250 Klosters-Serneus, Switzerland

Event Details
Open-air concertwith Jakub Hrůša To mark the 75th birthday of our extraordinary orchestra, we will present the citizens of Bamberg with an extraordinary concert at an extraordinary location: an open-air concert
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Event Details
Open-air concertwith Jakub Hrůša
To mark the 75th birthday of our extraordinary orchestra, we will present the citizens of Bamberg with an extraordinary concert at an extraordinary location: an open-air concert in the Bamberg city area, celebrating a musical summer festival for everyone, young and old, from far and near. Where exactly our concert will take place will be announced at a later date. Together with those responsible at Bamberg’s city council, we are looking for a place where all friends of the orchestra will be able to experience classical music in a truly special atmosphere. Let us surprise you!
In the afternoon there will be a colourful programme for families, and afterwards our Audience Orchestra will perform under our principal conductor Jakub Hrůša. Together with musicians of the Bamberg Symphony, selected works are rehearsed and performed, thus giving amateur musicians the opportunity to perform together with members of a professional symphony orchestra.
The highlight of the evening will be an open-air concert by our orchestra featuring a surprise programme of popular classical music.
Time
(Saturday) 8:00 pm
june 2021
14jun7:30 pmVienna, Austria - Vienna Philharmonic - Smetana7:30 pm Wien Konzerthaus

Event Details
International Music Festival Vienna Philharmonic Bedřich Smetana: Mein Vaterland (Má vlast)
Event Details
International Music Festival
Vienna Philharmonic
Bedřich Smetana: Mein Vaterland (Má vlast)
Time
(Monday) 7:30 pm
Location
Wien Konzerthaus
13jun11:00 amVienna, Austria - Vienna Philharmonic - Smetana11:00 am Wiener Musikverein

Event Details
Concert of the Society of Friends of Music in Vienna Vienna Philharmonic Bedřich Smetana: Mein Vaterland (Má vlast)
Event Details
Concert of the Society of Friends of Music in Vienna
Vienna Philharmonic
Bedřich Smetana: Mein Vaterland (Má vlast)
Time
(Sunday) 11:00 am
Location
Wiener Musikverein
12jun3:30 pmVienna, Austria - Vienna Philharmonic - Smetana3:30 pm Wiener Musikverein

Event Details
Concert of the Society of Friends of Music in Vienna Vienna Philharmonic Bedřich Smetana: Mein Vaterland (Má vlast)
Event Details
Concert of the Society of Friends of Music in Vienna
Vienna Philharmonic
Bedřich Smetana: Mein Vaterland (Má vlast)
Time
(Saturday) 3:30 pm
Location
Wiener Musikverein