“räsonanz” – Donor Concert

Bamberg Symphony | Jakub Hrůša | Juliane Banse | Ilya Gringolts

Szeghy | Furrer | Srnka

Mon, 06.09. | 19.30 | No. 211331

KKL Luzern, Concert Hall

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Summer Festival

10.08.-12.09. 2021




    “räsonanz” – Donor Concert

    Bamberg Symphony | Jakub Hrůša | Juliane Banse | Ilya Gringolts

    Jakub Hrůša  conductor
    Juliane Banse  soprano
    Ilya Gringolts  violin
    Iris Szeghy (*1956)
    Offertorium for soprano and orchestra based on a poem by Emily Dickinson
    world premiere
    Beat Furrer (*1954)
    Concerto for Violin and Orchestra
    Swiss premiere 
    Miroslav Srnka (*1975)
    move 01-04  for orchester
    first integral performance of all existing parts of the ongoing series (first performance of the revised versions of move 01-03)

    What’s new in music being written today? Find out at this räsonanz – Donor Concert, which brings you up-to-date orchestral music. Iris Szeghy presents her recent Offertorium, which features an expressive solo soprano singing verses by Emily Dickinson. Beat Furrer has taken advantage of the coronavirus downtime to compose a fiendishly difficult violin concerto for Ilya Gringolts. A “20-minute eruption,” wrote the Süddeutsche Zeitung about the Munich premiere last October. “Furrer strings together tapestries of sound made of dark whispers spiced with harried solo writing, harsh contrasts, and rapid virtuoso runs that arrive like a breeze. Everything is effective, stirring, complex.” Finally, in a series of orchestral pieces written between 2015 and 2020, Miroslav Srnka traces not just musical movements but what sets them in motion: the physical movements of the musicians. For the first complete performance, he has again revised move 1-4

    An initiative of the Ernst von Siemens Music Foundation, in cooperation with Lucerne Festival and Bavarian Radio’s musica viva

    Bamberg Symphony

    The Bamberg Symphony Orchestra celebrates its 75th birthday in 2021. It was founded in the spring of 1946, when former members of the German Philharmonic Orchestra Prague reunited in the historic city on the Regnitz River to form a new orchestra. The first principal conductor was Joseph Keilberth, who led the Bambergers until his death in 1968; he was followed by Eugen Jochum, James Loughran, and Horst Stein; Jonathan Nott took over artistic responsibility in January 2000 for 16 years. Jakub Hrůsa has been at the helm of the Bamberg Symphony Orchestra since the 2016-17 season; his contract has since been extended until 2026. Alongside him, Herbert Blomstedt and Christoph Eschenbach hold prominent positions as honorary conductors. In the course of its history, the Bamberg Symphony Orchestra has given more than 7,000 concerts in over 60 countries. They have performed at the Salzburg Festival, the Edinburgh Festival, the BBC Proms in London, and New York’s Lincoln Center and have toured to North America, China, Japan, and Taiwan. Hrůsa is building a wide repertoire with the musicians, accentuating Czech composers and also comprising works that hearken back to the orchestra’s historical roots. Since 2014, the Encore project has been commissioning contemporary composers to write “popular” pieces. The Bambergers are moreover active supporters of the emerging generation: they have presented the Mahler Conducting Competition since 2004 and, since 2010, have had an in-house orchestra academy. The Bamberg Symphony Orchestra has earned numerous awards for its recordings; in 2020, it received the Bavarian State Prize for Music.

    Lucerne Festival debut in the summer of 2007, when “artiste étoile” Jonathan Nott conducted his orchestra in three concerts; the Bambergers performed here most recently on 26 August 2015 in Verdi’s Falstaff, again under Nott.

    Further information: www.bambergsymphony.com

    May 2021


    Jakub Hrůša

    Jakub Hrůša, who was born in 1981 in Brno in the Czech Republic, studied conducting with Jiří Bělohlávek at the Academy of Performing Arts in Prague. He began his career in 2005 with the Prague Philharmonia, where he was Chief Conductor from 2008 to 2015. In the opera world, he first came to notice as Music Director of Glyndebourne on Tour, which post he held for three years (from 2010 to 2013). This soon led to invitations to the Vienna Staatsoper (Janáček’s The Makropulos Affair), the Opéra national de Paris (Dvořák’s Rusalka), Frankfurt Opera (Puccini’s Il trittico), and the Royal Opera House in London (Bizet’s Carmen). Since 2016, Hrůša has helmed the Bamberg Symphony Orchestra; after only two years, his contract was extended to 2026. He was Principal Guest Conductor of the Tokyo Metropolitan Symphony Orchestra from 2010 to 2018 and is currently Principal Guest Conductor of the Philharmonia Orchestra in London and the Czech Philharmonic. Hrůša has appeared with many of the world’s leading orchestras in recent seasons, including the Royal Concertgebouw Orchestra Amsterdam, the Leipzig Gewandhaus Orchestra, the Orchestra dell’Accademia Nazionale di Santa Cecilia, the Cleveland Orchestra, the New York Philharmonic, the San Francisco Symphony, and the Chicago Symphony Orchestra. In the 2018-19 season, he made his debuts with the Berlin Philharmonic, the Bavarian Radio Symphony Orchestra, and the Orchestre de Paris. He is currently recording a four-part Brahms-Dvořák cycle with the Bamberg Symphony Orchestra. Jakub Hrůša is Chairman of the International Martinů Circle and of the Dvořák Society. He was awarded the inaugural Sir Charles Mackerras Prize in 2015.

    August 2019

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    Juliane Banse

    The soprano Juliane Banse, who was born in southern Germany and grew up in Zurich, initially studied with Paul Steiner and Ruth Rohner, before competing her training with Brigitte Fassbaender and Daphne Evangelatos. She was only 20 when she made her debut as Pamina in The Magic Flute at the Komische Oper in Berlin; this was followed by engagements with the Vienna and Bavarian Staatsoper companies and with Zurich Opera, where she made her triumphant debut in 1998 in the world premiere of Holliger’s Schneewittchen (“Snow White”). Originally at home in lyrical soprano roles, today Banse’s repertoire also encompasses such roles as the Countess in Figaro, which she first performed in 2006 at the Salzburg Festival, Fiordiligi in Così fan tutte, Donna Elvira in Don Giovanni, Schumann’s Genoveva, Tatyana in Eugene Onegin, and Grete in Schreker’s Der ferne Klang. In 2014 she sang Rosalinde in Die Fledermaus at Lyric Opera of Chicago and made her debut at the Metropolitan Opera in New York as Zdenka in Strauss’s Arabella. In the 2015-16 season she took on the title role in Grigory Frid’s Diary of Anne Frank at the Theater an der Wien and appeared as Braunfels’ Saint Joan in Cologne. At the latter she will also perform Poulencs La voix humaine in the coming season; she will additionally sing Angèle Didier in a new production of Lehár’s  The Count of Luxembourg at Deutsche Oper am Rhein. Juliane Banse worked for many years with Claudio Abbado; she has also concertized with Pierre Boulez, Riccardo Chailly, Bernard Haitink, Mariss Jansons, Lorin Maazel, Zubin Mehta, and Franz Welser-Möst. She is moreover a celebrated lieder interpreter, as demonstrated by her multiple-award-winning CDs. She is the recipient of two Echo Klassik Awards: for Braunfels’ Jeanne d’Arc and for Mahler’s Eighth under David Zinman.

    LUCERNE FESTIVAL (IMF) debut on 5 September 1996 with the lieder project Du holde Kunst (“Oh Lovely Art”).

    August 2016

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    Introduction to the Concert | 18.30 | KKL Luzern, Auditorium
    Iris Szeghy and Miroslav Srnka in conversation with Mark Sattler (in German)

    Partner "räsonanz" – Donor Concert