Supported by KÜHNE FOUNDATION

Gerald Finley
With participants of the Young Singers Project

Distribution of free tickets starting on 04 July at the SHOP KARTEN / TICKETS of the Salzburg Festival at Hofstallgasse 1 (no reservation possible)

Performing with: Julius Drake, piano

Programme:
Schubert: Schwanengesang
Brahms: Vier ernste Gesänge
Schubert: Schwanengesang

Bluebeard’s Castle
Opera in one act
Concert performance
Libretto by Béla Balász

Performing with the London Philharmonic Orchestra; Sir Simon Rattle, conductor

On each of our inner maps, our yearning needs a few points of reference in order to set out on its journeys of discovery: for Sir Simon, one these is the composer Béla Bartók, another is the city of Baden-Baden with its legendary artists from Brahms to Boulez. Rattle has long since become a part of this history himself. When he returns with his London Symphony Orchestra to present Bartók, whose Concerto for Orchestra he once chose for his debut with the Berliner Philharmoniker, we would like to give special prominence to this concert as well. Join us as we celebrate our season opening together! Bring a bit of extra time – to gather with your fellow audience members in the lobby and toast to the new season after hearing Bartók’s Concerto and his Bluebeard with its blazing expressionist music.

Lutosławski: Les Espaces du sommeil

Programme also includes Tchaikovsky: Fantasy Overture and Romeo and Juliet and Berlioz: Symphonie fantastique

Performing with the London Philharmonic Orchestra; Edward Gardner, conductor

‘Frustrated in love, a young musician of deep sensitivity and ardent imagination takes opium…’ With those words, Hector Berlioz set the scene for his Symphonie fantastique – a story of gothic horror and glittering excess, rolled into one roof-raising musical phantasmagoria and scored for the biggest orchestra the world had then seen. It’s a gripping way for the LPO’s Principal Conductor Designate Edward Gardner to raise the curtain on our new season; first, though, Tchaikovsky’s hugely popular overture sets the emotional bar high, and the great Gerald Finley enters the luminous world of Lutosławski’s Les Espaces du sommeil – music that inhabits the realm between dream and imagination.