Composer: Berlioz| Date | Event | Composers, Works, Performers |
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| Wednesday 27-Nov-13 02:00pm |
 Grieg Hall (Grieghallen), BergenSymphonie Fantastique |
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| Grieg Hall (Grieghallen), Bergen, Edvard Griegs plass 1, Bergen 5015, Norway Wednesday 27-Nov-13 02:00pm Symphonie Fantastique James Gaffigan takes us on a journey from the ridiculous to the sublime, and onward into the delusional. Halvorsen’s Mascarade Suite is a light-hearted romp, while the Haydn Trumpet Concerto is a fine-cut jewel, featuring the golden tone of Principal Trumpetist Gary Peterson. The Symphonie Fantastique never fails to amaze, shock and charm with its utter originality «This is an absolute knockout ... James Gaffigan's conducting is thrilling in its precision and control», The Guardian | ||
| Thursday 28-Nov-13 07:30pm |
Grieg Hall (Grieghallen), Bergen Symphonie Fantastique |
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| More info...Buy tickets! | ||
| Grieg Hall (Grieghallen), Bergen, Edvard Griegs plass 1, Bergen 5015, Norway Thursday 28-Nov-13 07:30pm Symphonie Fantastique James Gaffigan takes us on a journey from the ridiculous to the sublime, and onward into the delusional. Halvorsen’s Mascarade Suite is a light-hearted romp, while the Haydn Trumpet Concerto is a fine-cut jewel, featuring the golden tone of Principal Trumpetist Gary Peterson. The Symphonie Fantastique never fails to amaze, shock and charm with its utter originality «This is an absolute knockout ... James Gaffigan's conducting is thrilling in its precision and control», The Guardian | ||
| Saturday 30-Nov-13 07:30pm |
Maidstone Leisure Centre: Mote Hall Maidstone Symphony Orchestra |
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| Maidstone Leisure Centre: Mote Hall, Willow Way, Maidstone ME15 7RN, United Kingdom Saturday 30-Nov-13 07:30pm Maidstone Symphony Orchestra | ||
| Friday 6-Dec-13 07:30pm |
Carnegie Hall: Stern Auditorium/Perelman Stage, New York City, NY The Philadelphia Orchestra |
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| Carnegie Hall: Stern Auditorium/Perelman Stage, New York City, NY, New York City, NY, United States Friday 6-Dec-13 07:30pm The Philadelphia Orchestra Renowned for its distinctive sound, The Philadelphia Orchestra returns to Carnegie Hall during its second season with Music Director Yannick Nézet-Séguin to perform Berlioz’s hallucinatory Symphonie fantastique and Brahms's Second Piano Concerto with energetic pianist Hélène Grimaud. Hear why The New York Times has proclaimed that “on any given night this storied institution will probably prove anew that it remains one of the country’s premier ensembles. | ||
| Sunday 15-Dec-13 02:00pm |
Barbican Centre: Hall, London Berlioz L'enfance du Christ |
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| Barbican Centre: Hall, London, Silk Street, London EC2Y 8DS, United Kingdom Sunday 15-Dec-13 02:00pm Berlioz L'enfance du Christ A seasonal concert featuring Berlioz’s luminous re-telling of the Christmas story. The composer delved back into his tender boyhood memories for this unusual oratorio. While it contains the terror of Herod’s dream and the Holy Family’s flight, it’s also suffused with a gentleness not found in many of his works. On hearing the first completed performance of ‘The Holy Family at rest’, Berlioz wrote to his sister: ‘It is really good, it is innocent and touching (do not laugh), in the style of the illuminations of old missals.’ Tickets £10 - 32. | ||
| Saturday 25-Jan-14 08:15pm |
Concertgebouw: Main Hall, Amsterdam North Netherlands Orchestra and young talent Arthur Jussen |
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| Concertgebouw: Main Hall, Amsterdam, Amsterdam, Netherlands Saturday 25-Jan-14 08:15pm North Netherlands Orchestra and young talent Arthur Jussen Image credit: Arthur Jussen © ALEK | ||
| Saturday 1-Feb-14 07:30pm |
Coronado Performing Arts Center, Rockford, IL Tragic Desire |
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| Coronado Performing Arts Center, Rockford, IL, 314 North Main Street, Rockford, 61101, United States Saturday 1-Feb-14 07:30pm Tragic Desire | ||
| Wednesday 5-Feb-14 07:30pm |
Lighthouse, Poole Bournemouth Symphony Orchestra: The Power of Love |
Berlioz, Roméo et Juliette, choral symphony, Op.17 (Excerpts) |
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| Lighthouse, Poole, Poole BH15 1UG, United Kingdom Wednesday 5-Feb-14 07:30pm Bournemouth Symphony Orchestra: The Power of Love | ||
| Thursday 6-Feb-14 07:30pm |
Sage: Hall One, Gateshead Nuits d'Eté |
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| Sage: Hall One, Gateshead, Gateshead, United Kingdom Thursday 6-Feb-14 07:30pm Nuits d'Eté When Berlioz encountered a set of poems by his friend Théophile Gautier which told of love passionate, unrequited and lost, his reaction was typically intense. Berlioz immediately set the songs to music – first for soprano with piano, then with orchestra. In the colour, sensuousness and grace of ‘Nuits d’été’, Berlioz “sowed the seeds for the entire musical lyricism of the nineteenth century in the French language”, according to one musicologist. Ryan Wigglesworth also includes Mozart’s most miraculous piano concerto, Ravel’s plangent memorial to lost friends and his own ‘Inventions’. With a pre-concert talk. Buses from Alnwick and Hexham Tickets: £10-£33 | ||
| Thursday 6-Feb-14 08:00pm |
Philharmonie: Großer Saal, Berlin Berliner Philharmoniker |
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| Philharmonie: Großer Saal, Berlin, D10785 Berlin, Germany Thursday 6-Feb-14 08:00pm Berliner Philharmoniker | ||
| Friday 7-Feb-14 07:30pm |
Colston Hall, Bristol Bournemouth Symphony Orchestra: The Power of Love |
Berlioz, Roméo et Juliette, choral symphony, Op.17 (Excerpts) |
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| Colston Hall, Bristol, Bristol BS1 5AR, United Kingdom Friday 7-Feb-14 07:30pm Bournemouth Symphony Orchestra: The Power of Love | ||
| Friday 7-Feb-14 08:00pm |
Philharmonie: Großer Saal, Berlin Berliner Philharmoniker |
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| Philharmonie: Großer Saal, Berlin, D10785 Berlin, Germany Friday 7-Feb-14 08:00pm Berliner Philharmoniker | ||
| Saturday 8-Feb-14 08:00pm |
Philharmonie: Großer Saal, Berlin Berliner Philharmoniker |
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| Philharmonie: Großer Saal, Berlin, D10785 Berlin, Germany Saturday 8-Feb-14 08:00pm Berliner Philharmoniker | ||
| Thursday 13-Feb-14 07:30pm |
Olavshallen, Trondheim Trondheim Symphony Orchestra |
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| Olavshallen, Trondheim, Kjøpmannsgt. 44, Trondheim 7011, Norway Thursday 13-Feb-14 07:30pm Trondheim Symphony Orchestra Image credit: Lena Knutli | ||
| Thursday 20-Feb-14 07:30pm |
Music Hall, Cincinnati, OH Cincinnati Symphony Orchestra |
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| Music Hall, Cincinnati, OH, Cincinnati, 45202, United States Thursday 20-Feb-14 07:30pm Cincinnati Symphony Orchestra | ||
| Friday 21-Feb-14 07:30pm |
Southbank Centre: Royal Festival Hall, London LPO: Petrenko conducts Rachmaninov and Elgar |
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| Southbank Centre: Royal Festival Hall, London, Belvedere Road, London SE1 8XX, United Kingdom Friday 21-Feb-14 07:30pm LPO: Petrenko conducts Rachmaninov and Elgar | ||
| Saturday 22-Feb-14 07:30pm |
Brighton Dome, Concert Hall Berlioz, Brahms and Rachmaninoff |
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| Brighton Dome, Concert Hall, Brighton BN1 1UG, United Kingdom Saturday 22-Feb-14 07:30pm Berlioz, Brahms and Rachmaninoff | ||
| Saturday 22-Feb-14 08:00pm |
Music Hall, Cincinnati, OH Cincinnati Symphony Orchestra |
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| Music Hall, Cincinnati, OH, Cincinnati, 45202, United States Saturday 22-Feb-14 08:00pm Cincinnati Symphony Orchestra | ||
| Sunday 23-Feb-14 02:00pm |
Music Hall, Cincinnati, OH Cincinnati Symphony Orchestra |
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| Music Hall, Cincinnati, OH, Cincinnati, 45202, United States Sunday 23-Feb-14 02:00pm Cincinnati Symphony Orchestra | ||
| Sunday 23-Feb-14 06:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
-Uwe-Arens.jpg "Image credit: Uwe Arens") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 23-Feb-14 06:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Thursday 27-Feb-14 07:00pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 27-Feb-14 07:00pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Saturday 1-Mar-14 07:30pm |
Musikverein: Großer Saal, Vienna Vienna Symphony Orchestra |
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| Musikverein: Großer Saal, Vienna, Vienna, Austria Saturday 1-Mar-14 07:30pm Vienna Symphony Orchestra | ||
| Sunday 2-Mar-14 07:30pm |
Musikverein: Großer Saal, Vienna Vienna Symphony Orchestra |
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| Musikverein: Großer Saal, Vienna, Vienna, Austria Sunday 2-Mar-14 07:30pm Vienna Symphony Orchestra | ||
| Wednesday 5-Mar-14 07:30pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 5-Mar-14 07:30pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Wednesday 5-Mar-14 08:15pm |
Concertgebouw: Main Hall, Amsterdam Concertgebouw Orchestra plays Beethoven and Berlioz |
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| Concertgebouw: Main Hall, Amsterdam, Amsterdam, Netherlands Wednesday 5-Mar-14 08:15pm Concertgebouw Orchestra plays Beethoven and Berlioz Image credit: Myung-Whun Chung © Riccardo Musacchio | ||
| Thursday 6-Mar-14 08:15pm |
Concertgebouw: Main Hall, Amsterdam Concertgebouw Orchestra plays Beethoven and Berlioz |
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| Concertgebouw: Main Hall, Amsterdam, Amsterdam, Netherlands Thursday 6-Mar-14 08:15pm Concertgebouw Orchestra plays Beethoven and Berlioz Image credit: Myung-Whun Chung © Riccardo Musacchio | ||
| Friday 7-Mar-14 08:15pm |
Concertgebouw: Main Hall, Amsterdam Concertgebouw Orchestra plays Beethoven and Berlioz |
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| Concertgebouw: Main Hall, Amsterdam, Amsterdam, Netherlands Friday 7-Mar-14 08:15pm Concertgebouw Orchestra plays Beethoven and Berlioz Image credit: Myung-Whun Chung © Riccardo Musacchio | ||
| Saturday 8-Mar-14 07:30pm |
Deutsche Oper, Berlin The Damnation of Faust |
Deutsche Oper Berlin Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 8-Mar-14 07:30pm In French language with German surtitles.
Conventional and moderate he was not, in life as in art, and so it is with Hector Berlioz' musical rendition of the Faust myth, which explodes all conventions and genres. Berlioz initially called his DAMNATION OF FAUST an “opera concertante”, then a “dramatised legend”. Ultimately, the work is one thing above all else – a grand spectacle incorporating all conceivable forms. Here we are presented with a score made up of opera, oratorio and symphonic elements, lieder, dances, marches, drinking songs, large-scale chorus pieces, a fugue parody and a quodlibet of superimposed troopers' songs. Musically speaking, a composition from the mid 19th century could hardly be more heterogeneous. And this complexity is also a reflection of the title character himself. The world of Berlioz' Faust has ceased to be describable in a linear, unified fashion. The work gives us episodes from the life and death of a romantic, one who does not deal actively but is rather gripped in the ennui of a Lord Byron. Faust is trapped in this boredom and lethargy; nothing can tear him from it – not the crash of battle nor folklore nor anything that Mephisto can serve up in terms of musical and theatrical brouhaha. Christian Spuck is one of the top choreographers of the younger generation. In recent years he has left his imprint as house choreographer at the Stuttgart Ballet and has been Director of Ballet at the Zurich Opera since 2012. Christian Spuck increasingly straddles the genres of opera and dance. Berlioz' DAMNATION OF FAUST, which he directs and choreographs, marks his Berlin debut. Image credit: Uwe Arens Donald Runnicles, Conductor Christian Spuck, Director Emma Ryott, Set Designer Clémentine Margaine, Mezzo-soprano: Marguerite Klaus Florian Vogt, Tenor: Faust Tobias Kehrer, Bass: Brander Samuel Youn, Bass-baritone: Méphistophélès | ||
| Saturday 8-Mar-14 08:00pm |
Philharmonie, Köln Concertgebouw Orchestra plays Beethoven and Berlioz |
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| Philharmonie, Köln, Bischofsgartenstraße 1, 50667 Köln, Germany Saturday 8-Mar-14 08:00pm Concertgebouw Orchestra plays Beethoven and Berlioz | ||
| Saturday 15-Mar-14 07:30pm |
Southbank Centre: Royal Festival Hall, London San Francisco Symphony |
Ives, Piano Sonata no. 2: The Alcotts (Third movement, arr. Henry Brant for orchestra) |
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| Southbank Centre: Royal Festival Hall, London, Belvedere Road, London SE1 8XX, United Kingdom Saturday 15-Mar-14 07:30pm San Francisco Symphony Ives, Charles (1874-1954), Piano Sonata no. 2: The Alcotts (Third movement, arr. Henry Brant for orchestra) | ||
| Sunday 16-Mar-14 03:00pm |
Palais des Beaux-Arts (BOZAR): Henri le Boeuf Concert Hall, Brussels National Orchestra of Belgium |
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| Palais des Beaux-Arts (BOZAR): Henri le Boeuf Concert Hall, Brussels, Rue Ravensteinstraat 23, B1000 Brussels, Belgium Sunday 16-Mar-14 03:00pm National Orchestra of Belgium Tickets 40 - 10 €. | ||
| Saturday 22-Mar-14 02:15pm |
Concertgebouw: Main Hall, Amsterdam Dutilleux and Berlioz with Valery Gergiev and Benjamin Schmid |
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| Concertgebouw: Main Hall, Amsterdam, Amsterdam, Netherlands Saturday 22-Mar-14 02:15pm Dutilleux and Berlioz with Valery Gergiev and Benjamin Schmid Image credit: Valery Gergiev © Alexander Shapunov | ||
| Wednesday 26-Mar-14 07:30pm |
Southbank Centre: Royal Festival Hall, London LPO: Pull Out All The Stops Festival: An Organ Celebration Pull Out All the Stops Festival |
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| Southbank Centre: Royal Festival Hall, London, Belvedere Road, London SE1 8XX, United Kingdom Wednesday 26-Mar-14 07:30pm LPO: Pull Out All The Stops Festival: An Organ Celebration | ||
| Sunday 30-Mar-14 04:00pm |
Deutsche Oper, Berlin The Trojans (Les Troyens) |
Deutsche Oper Berlin Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 30-Mar-14 04:00pm The Trojans (Les Troyens) In French language with German surtitles.
“I love the Ancients, regardless of their merits and deficits, because they are not like modern people, because they are new” explained Hector Berlioz, writing in September 1850 in Le journal des débats. A present-day sceptic, he was enthralled by ancient history from an early age and developed his own contemporary perspective on these tales of antiquity, seeing them as a constantly repeated round of victories and defeats. In his double opera THE TROJANS, a huge, sweeping panorama, he weaves a web of individual destinies while creating overarching perspectives and ageless formats. Berlioz presents the horror of war, harnesses insight and helplessness as the twin drivers of a cruel epic, tells of love and renunciation, of guileless guilt and inexorable fate. Shrieks of Trojan joy open this work that is so difficult to categorise, but appearances deceive. Cassandra warns in vain of the »gift of the gods«. She foresees catastrophe for Troy, a disaster linked to the wooden horse, but is powerless to prevent it. The spirit of Hector urges Aeneas to abandon Troy, overrun by the Greeks, and found a new nation in a distant land. While he and his men flee the burning city the women, on the instigation of Cassandra, commit suicide. The “ownfall of Troy” is followed by the second part of the story, an episode of transition that looks to the future: “The Trojans in Carthage”. The surviving male Trojans lands in Carthage, where they give military assistance to the Carthaginians and thwart the attack of King Iarbas. This alliance is reflected on a personal level, too. Dido and Aeneas discover their love for each other, but their happiness is short-lived. The ghosts of the dead Trojans appeal to Aeneas to sally forth again and fulfil his mission as set out by Hector. When Dido realises that she cannot persuade her beloved Aeneas to stay, she climbs onto the pyre and kills herself. Before she dies she proclaims her vision of the future, conjuring up a never-ending bloodbath between Carthage and the descendants of Aeneas. This work, created between 1856 and 1858 and erratic in its refusal to submit to the artistic parameters of its time, draws heavily on Virgil and Shakespeare. It is not the intention of this retrospective work to reproduce what has gone before but rather to point up new facets and cause the tales and forms of an earlier age to bear fruit in the present day. Although baroque and bel canto opera have left their mark on this work, Berlioz considers the conflict between gods - counterpointing the struggles of the mortals - to be irrelevant to his times and decidedly baroque in character and consequently leaves it out of THE TROJANS. Berlioz throws his lot in with conservative musical credos such as consonance, melody and closed form, yet he also clashes with convention by employing unusual rhythms and tonality. Despite its echoes of grand opéra, the work does not belong to the genre. The music is ever changing and developing; one hardly ever sees the repetition that one encounters in grand opéra. Here, too, Berlioz anticipates modern compositional principles. THE TROJANS insist on autonomy that, while it is open to a plethora of ideas, seeks enlightenment and form precisely through wrestling with these ideas. It is precisely these characteristics that equip them for the present. Image credit: Matthias Horn Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam | ||
| Wednesday 2-Apr-14 05:00pm |
Deutsche Oper, Berlin The Trojans (Les Troyens) |
Deutsche Oper Berlin Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Wednesday 2-Apr-14 05:00pm The Trojans (Les Troyens) In French language with German surtitles.
“I love the Ancients, regardless of their merits and deficits, because they are not like modern people, because they are new” explained Hector Berlioz, writing in September 1850 in Le journal des débats. A present-day sceptic, he was enthralled by ancient history from an early age and developed his own contemporary perspective on these tales of antiquity, seeing them as a constantly repeated round of victories and defeats. In his double opera THE TROJANS, a huge, sweeping panorama, he weaves a web of individual destinies while creating overarching perspectives and ageless formats. Berlioz presents the horror of war, harnesses insight and helplessness as the twin drivers of a cruel epic, tells of love and renunciation, of guileless guilt and inexorable fate. Shrieks of Trojan joy open this work that is so difficult to categorise, but appearances deceive. Cassandra warns in vain of the »gift of the gods«. She foresees catastrophe for Troy, a disaster linked to the wooden horse, but is powerless to prevent it. The spirit of Hector urges Aeneas to abandon Troy, overrun by the Greeks, and found a new nation in a distant land. While he and his men flee the burning city the women, on the instigation of Cassandra, commit suicide. The “ownfall of Troy” is followed by the second part of the story, an episode of transition that looks to the future: “The Trojans in Carthage”. The surviving male Trojans lands in Carthage, where they give military assistance to the Carthaginians and thwart the attack of King Iarbas. This alliance is reflected on a personal level, too. Dido and Aeneas discover their love for each other, but their happiness is short-lived. The ghosts of the dead Trojans appeal to Aeneas to sally forth again and fulfil his mission as set out by Hector. When Dido realises that she cannot persuade her beloved Aeneas to stay, she climbs onto the pyre and kills herself. Before she dies she proclaims her vision of the future, conjuring up a never-ending bloodbath between Carthage and the descendants of Aeneas. This work, created between 1856 and 1858 and erratic in its refusal to submit to the artistic parameters of its time, draws heavily on Virgil and Shakespeare. It is not the intention of this retrospective work to reproduce what has gone before but rather to point up new facets and cause the tales and forms of an earlier age to bear fruit in the present day. Although baroque and bel canto opera have left their mark on this work, Berlioz considers the conflict between gods - counterpointing the struggles of the mortals - to be irrelevant to his times and decidedly baroque in character and consequently leaves it out of THE TROJANS. Berlioz throws his lot in with conservative musical credos such as consonance, melody and closed form, yet he also clashes with convention by employing unusual rhythms and tonality. Despite its echoes of grand opéra, the work does not belong to the genre. The music is ever changing and developing; one hardly ever sees the repetition that one encounters in grand opéra. Here, too, Berlioz anticipates modern compositional principles. THE TROJANS insist on autonomy that, while it is open to a plethora of ideas, seeks enlightenment and form precisely through wrestling with these ideas. It is precisely these characteristics that equip them for the present. Image credit: Matthias Horn Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam | ||
| Thursday 3-Apr-14 07:30pm |
Southbank Centre: Royal Festival Hall, London Philharmonia: Gardner conducts Wagner, Berlioz and Elgar |
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| Southbank Centre: Royal Festival Hall, London, Belvedere Road, London SE1 8XX, United Kingdom Thursday 3-Apr-14 07:30pm Philharmonia: Gardner conducts Wagner, Berlioz and Elgar | ||
| Sunday 6-Apr-14 04:00pm |
Deutsche Oper, Berlin The Trojans (Les Troyens) |
Deutsche Oper Berlin Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 6-Apr-14 04:00pm The Trojans (Les Troyens) In French language with German surtitles.
“I love the Ancients, regardless of their merits and deficits, because they are not like modern people, because they are new” explained Hector Berlioz, writing in September 1850 in Le journal des débats. A present-day sceptic, he was enthralled by ancient history from an early age and developed his own contemporary perspective on these tales of antiquity, seeing them as a constantly repeated round of victories and defeats. In his double opera THE TROJANS, a huge, sweeping panorama, he weaves a web of individual destinies while creating overarching perspectives and ageless formats. Berlioz presents the horror of war, harnesses insight and helplessness as the twin drivers of a cruel epic, tells of love and renunciation, of guileless guilt and inexorable fate. Shrieks of Trojan joy open this work that is so difficult to categorise, but appearances deceive. Cassandra warns in vain of the »gift of the gods«. She foresees catastrophe for Troy, a disaster linked to the wooden horse, but is powerless to prevent it. The spirit of Hector urges Aeneas to abandon Troy, overrun by the Greeks, and found a new nation in a distant land. While he and his men flee the burning city the women, on the instigation of Cassandra, commit suicide. The “ownfall of Troy” is followed by the second part of the story, an episode of transition that looks to the future: “The Trojans in Carthage”. The surviving male Trojans lands in Carthage, where they give military assistance to the Carthaginians and thwart the attack of King Iarbas. This alliance is reflected on a personal level, too. Dido and Aeneas discover their love for each other, but their happiness is short-lived. The ghosts of the dead Trojans appeal to Aeneas to sally forth again and fulfil his mission as set out by Hector. When Dido realises that she cannot persuade her beloved Aeneas to stay, she climbs onto the pyre and kills herself. Before she dies she proclaims her vision of the future, conjuring up a never-ending bloodbath between Carthage and the descendants of Aeneas. This work, created between 1856 and 1858 and erratic in its refusal to submit to the artistic parameters of its time, draws heavily on Virgil and Shakespeare. It is not the intention of this retrospective work to reproduce what has gone before but rather to point up new facets and cause the tales and forms of an earlier age to bear fruit in the present day. Although baroque and bel canto opera have left their mark on this work, Berlioz considers the conflict between gods - counterpointing the struggles of the mortals - to be irrelevant to his times and decidedly baroque in character and consequently leaves it out of THE TROJANS. Berlioz throws his lot in with conservative musical credos such as consonance, melody and closed form, yet he also clashes with convention by employing unusual rhythms and tonality. Despite its echoes of grand opéra, the work does not belong to the genre. The music is ever changing and developing; one hardly ever sees the repetition that one encounters in grand opéra. Here, too, Berlioz anticipates modern compositional principles. THE TROJANS insist on autonomy that, while it is open to a plethora of ideas, seeks enlightenment and form precisely through wrestling with these ideas. It is precisely these characteristics that equip them for the present. Image credit: Matthias Horn Paul Daniel, Conductor David Pountney, Director Johan Engels, Set Designer Ronnita Miller, Mezzo-soprano: Anna Siobhan Stagg, Soprano: Ascanius Ildiko Komlosi, Mezzo-soprano: Cassandra Béatrice Uria-Monzon, Mezzo-soprano: Dido Hulkar Sabirova, Soprano: Hecuba Roberto Alagna, Tenor: Aeneas Clemens Bieber, Tenor: Helenus Alvaro Zambrano, Tenor: Hylas Joel Prieto, Tenor: Iopas Markus Brück, Baritone: Chorebus Seth Carico, Bass-baritone: Pantheus Stephen Bronk, Bass: Ghost of Hector Tobias Kehrer, Bass: Narbal Lenus Carlson, Baritone: Priam | ||
| Tuesday 8-Apr-14 05:30pm |
La Scala, Milan The Trojans |
Teatro alla Scala Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam |
| More info... | ||
| La Scala, Milan, 20121 Milan, Italy Tuesday 8-Apr-14 05:30pm Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam | ||
| Saturday 12-Apr-14 05:30pm |
La Scala, Milan The Trojans |
Teatro alla Scala Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam |
| More info... | ||
| La Scala, Milan, 20121 Milan, Italy Saturday 12-Apr-14 05:30pm Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam | ||
| Monday 14-Apr-14 08:00pm |
Opéra Bastille: Amphithéâtre, Paris Nocturnes |
Works by Schubert Works by Wolf Works by Mahler Works by Gounod Works by Berlioz Works by Hahn Works by Pfitzner Works by Silvestrov Works by Berg |
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| Opéra Bastille: Amphithéâtre, Paris, 120 rue de Lyon, 75012 Paris, France Monday 14-Apr-14 08:00pm Nocturnes Works by Schubert, Franz (1797-1828) Works by Wolf, Hugo (1860-1903) Works by Mahler, Gustav (1860-1911) Works by Gounod, Charles-Francois (1818-1893) Works by Berlioz, Hector (1803-1869) Works by Hahn, Reynaldo (1875-1947) Works by Pfitzner, Hans (1869-1949) Works by Silvestrov, Valentin (b. 1935) Works by Berg, Alban (1885-1935) | ||
| Wednesday 16-Apr-14 05:30pm |
La Scala, Milan The Trojans |
Teatro alla Scala Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam |
| More info... | ||
| La Scala, Milan, 20121 Milan, Italy Wednesday 16-Apr-14 05:30pm Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam | ||
| Tuesday 22-Apr-14 05:30pm |
La Scala, Milan The Trojans |
Teatro alla Scala Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam |
| More info... | ||
| La Scala, Milan, 20121 Milan, Italy Tuesday 22-Apr-14 05:30pm Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam | ||
| Friday 25-Apr-14 08:00pm |
Konzerthalle Bamberg Fantasies from France |
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| Konzerthalle Bamberg, Mußstraße 1,, 96047 Bamberg, Germany Friday 25-Apr-14 08:00pm Fantasies from France | ||
| Saturday 26-Apr-14 05:30pm |
La Scala, Milan The Trojans |
Teatro alla Scala Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam |
| More info... | ||
| La Scala, Milan, 20121 Milan, Italy Saturday 26-Apr-14 05:30pm Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam | ||
| Saturday 26-Apr-14 08:00pm |
Liederhalle, Stuttgart Fantasies from France |
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| Liederhalle, Stuttgart, Berliner Platz 1-3, 70174 Stuttgart, Germany Saturday 26-Apr-14 08:00pm Fantasies from France | ||
| Sunday 27-Apr-14 05:00pm |
Konzerthalle Bamberg Fantasies from France |
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| Konzerthalle Bamberg, Mußstraße 1,, 96047 Bamberg, Germany Sunday 27-Apr-14 05:00pm Fantasies from France | ||
| Wednesday 30-Apr-14 05:30pm |
La Scala, Milan The Trojans |
Teatro alla Scala Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam |
| More info... | ||
| La Scala, Milan, 20121 Milan, Italy Wednesday 30-Apr-14 05:30pm Sir Antonio Pappano, Conductor David McVicar, Director Es Devlin, Set Designer Maria Radner, Contralto: Anna Paola Gardina, Mezzo-soprano: Ascanius Anna Caterina Antonacci, Soprano: Cassandra Daniela Barcellona, Mezzo-soprano: Dido Elena Zilio, Mezzo-soprano: Hecuba Gregory Kunde, Tenor: Aeneas Oreste Cosimo, Tenor: Helenus Paolo Fanale, Tenor: Hylas Shalva Mukeria, Tenor: Iopas Fabio Maria Capitanucci, Baritone: Chorebus Alexandre Duhamel, Bass: Pantheus Deyan Vatchkov, Bass: Ghost of Hector Giacomo Prestia, Bass: Narbal Samuel Ramey, Bass: Priam | ||
| Friday 2-May-14 11:00am |
Music Hall, Cincinnati, OH Cincinnati Symphony Orchestra |
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| More info... | ||
| Music Hall, Cincinnati, OH, Cincinnati, 45202, United States Friday 2-May-14 11:00am Cincinnati Symphony Orchestra | ||
| Saturday 3-May-14 08:00pm |
Music Hall, Cincinnati, OH Cincinnati Symphony Orchestra |
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| More info... | ||
| Music Hall, Cincinnati, OH, Cincinnati, 45202, United States Saturday 3-May-14 08:00pm Cincinnati Symphony Orchestra | ||
| Saturday 10-May-14 03:30pm |
Musikverein: Großer Saal, Vienna Hector Berlioz: Messe solenelle |
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| More info... | ||
| Musikverein: Großer Saal, Vienna, Vienna, Austria Saturday 10-May-14 03:30pm Hector Berlioz: Messe solenelle | ||
