Mariss Jansons © Priska Ketterer/LUCERNE FESTIVAL
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Choral Concert 2
Bavarian Radio Choir and Symphony Orchestra | Mariss Jansons | soloists
Stravinsky | Hummel | Beethoven
Sat, 24.03. | 18.30 | No. 18109
Mariss Jansons © Priska Ketterer/LUCERNE FESTIVAL
Choral Concert 2
Bavarian Radio Choir and Symphony Orchestra | Mariss Jansons | soloists
(Howard Arman chorus master)
“But my dear Beethoven, what is it that have you done again?” Nikolaus II von Esterházy was indignant. When Beethoven led the world premiere of his C major Mass on 13 September 1807 in Eisenstadt, the Prince posed this memorable question. And it became even clearer in a letter: “The Mass by Beethoven is ridiculous and abominable,” he wrote, infuriated. “I am angry and mortified.” Noblesse oblige – but clearly not concerned about understanding music. Beethoven himself knew better: the C major Mass was “dear to his heart” as a work of peace in an era given to war. Unlike in the later Missa solemnis, here he puts less focus on music’s overpowering force than on its gentle strength, which moves with immediacy, with elated, unpretentious, pure sounds. Mariss Jansons pairs this rarely played Mass with the E major Trumpet Concerto by Beethoven’s friend Johann Nepomuk Hummel. And with the Symphony in Three Movements by the great Beethoven admirer Igor Stravinsky.
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Bavarian Radio Symphony Orchestra © Peter Fischli/LUCERNE FESTIVAL
Bavarian Radio Symphony Orchestra
Founded in 1949, the Bavarian Radio Symphony Orchestra celebrates its 70th anniversary this year. As its first Chief Conductor, Eugen Jochum developed the Orchestra during his 11-year tenure and brought it international renown, especially through his Bruckner performances. His successor was Rafael Kubelík (1961–79), who expanded its repertoire to include works by Slavic composers, led its first Mahler cycle, and became a champion of 20th-century music. Sir Colin Davis, an acclaimed Berlioz specialist, stood at the helm from 1983 to 1992 and was a dedicated advocate of the Mozart repertoire and of the works of British composers. Lorin Maazel held the reins from 1993 to 2002, leading complete cycles of works by Beethoven, Brahms, Bruckner, Schubert, and Mahler. Since October 2003, Mariss Jansons has held the position of Chief Conductor, presenting a repertoire that ranges widely, from Haydn to Shostakovich and contemporary composers. Many renowned conductors have led the Orchestra, from Otto Klemperer and Karl Böhm through Sir Georg Solti, Carlo Maria Giulini, and Leonard Bernstein to such stars of the present as Herbert Blomstedt, Sir John Eliot Gardiner, Bernard Haitink, Daniel Harding, Sir Simon Rattle, and Franz Welser-Möst, all of whom are scheduled to conduct the ensemble during the 2018-19 season. The Bavarian Radio Symphony Orchestra regularly presents world premieres of new works through its “musica viva” series. The orchestra also performs international tours: in November 2018, the musicians concertized under Zubin Mehta in Taiwan, Japan (earning the votes of leading Japanese music critics for top place on their “best concerts of 2018” lists), and Korea and, in March 2019, undertook a European tour with Mariss Jansons. The Bavarian Radio Symphony Orchestra has appeared in an annual residency at Lucerne’s Easter Festival since 2004.
LUCERNE FESTIVAL (IMF) debut on 28 August 1965 in a program of works by Bartók and Bruckner under Rafael Kubelík.
February 2019Other dates
Chor des Bayerischen Rundfunks © Astrid Ackermann
Bavarian Radio Choir
Founded in 1946, the Bavarian Radio Choir has been performing the great choral symphonic literature and oratorios from the Baroque to the present since then, especially with the Bavarian Radio Symphony Orchestra. The latter’s music directors have regularly been in charge of the Choir’s artistic leadership: from Eugen Jochum through Rafael Kubelík, Sir Colin Davis, and Lorin Maazel to Mariss Jansons. The ensemble is especially acclaimed for its flexibility and for the stylistic diversity of its repertoire. The singers are capable of shifting effortlessly from the austere sonority of a Renaissance madrigal to a Romantic choral work or to the technical challenges posed by contemporary music – all while preserving their signature sonic homogeneity. Through its own subscription series at the Prinzregententheater in Munich, the Choir performs not only the classic works of the canon but also crossover projects and jazz. Since the beginning of the 2016-17 season, the British Howard Arman (born in 1954) has held the position of Artistic Director. Previously, from 1998 to 2013, Arman led the MDR Radio Choir in Leipzig and he served as Music Director of the Luzerner Theater from 2011 to 2016. Regular tours and invitations to the major music festivals are among the Choir’s activities; the singers have also worked with such leading European orchestras as the Berlin and Vienna Philharmonics, the Royal Concertgebouw Orchestra Amsterdam, and the Staatskapelle Dresden. They additionally perform concerts with such period-instrument ensembles as Concerto Köln, B’Rock, and the Akademie für Alte Musik Berlin. The Bavarian Radio Choir has won Echo Klassik Awards repeatedly; it received the Bavarian State Prize for Music in 2015.
LUCERNE FESTIVAL (IMF) debut on 30 August 1965 in Janáček’s From the House of the Dead under the direction of Rafael Kubelík.
February 2018Other dates
Mariss Jansons © Peter Meisel
Mariss Jansons was born in 1943 in Riga as the son of the conductor Arvīds Jansons. He studied violin, piano, and conducting at the Leningrad Conservatory, completing his training as a student of Hans Swarowsky in Vienna and of Herbert von Karajan in Salzburg. He was a winner the Karajan Competition in Berlin in 1971, and in the same year Evgeny Mravinsky appointed Jansons to be his assistant at the Leningrad Philharmonic. From 1979 to 2000 Jansons served as Music Director of the Oslo Philharmonic Orchestra, and from 1997 to 2004 he was Principal Conductor of the Pittsburgh Symphony Orchestra. Since 2003 he has led the Bavarian Radio Symphony Orchestra. Beginning in 2004, for 11 years, he additionally led the Royal Concertgebouw Orchestra Amsterdam, which named him Honorary Conductor in 2015. Jansons guest conducts the finest orchestras in the United States and Europe, including the Berlin and Vienna Philharmonics; he has conducted the latter’s New Year’s concerts three times (in 2006, 2012, and 2016). His discography comprises many prize-winning recordings, including a Grammy-winning account of Shostakovich’s Symphony No. 13. Mariss Jansons is an honorary member of the Society of Friends of Music in Vienna, the Royal Academy of Music in London, and the Berlin Philharmonic, which has also bestowed him with the Bülow Medal. He received the Golden Medal of Honor from the City of Vienna, the Honorary Cross for Science and Art from the State of Austria, and the Grand Cross of the Order of Merit from the Federal Republic of Germany. Jansons, who is also a member of the Bavarian Maximilian Order for Science and Art, a knight of the Order of the Netherlands Lion, and a Commandeur des Arts et des Lettres, received the Ernst von Siemens Music Prize in 2013, the Royal Philharmonic Society’s Gold Medal in 2017, and the Léonie Sonning Music Prize in 2018.
LUCERNE FESTIVAL (IMF) debut on 20 April 1992 with the London Symphony Orchestra in a program of works by Weber, Strauss, and Mahler.
February 2018Other dates
Martin Angerer © BR-SO.com
The trumpeter Martin Angerer, who was born in 1977 in Graz, was accepted into the University for Music and Performing Arts in his native city in 1992, where he graduated from the class of Stanko Arnold. After his master of arts examination, which he earned with distinction, he decided to undertake additional studies in Sweden with Bo Nilsson and Håkan Hardenberger. Angerer concluded his training with Hans Gansch at the Salzburg Mozarteum. In numerous master classes, such as with Maurice André, Pierre Thibaud, and Adolph “Bud” Herseth, he gained additional important sources of inspiration. Having won multiple awards at national and international competitions, he has been a member of the ensemble Wiener Collage since 1996, which is supported by the Vienna Philharmonic and works regularly with well-known contemporary composers; he also belongs to the group The Art of Trumpet Vienna. Angerer had his first permanent engagement in 2000, when he was appointed first trumpet of the Graz Symphony Orchestra. Daniel Barenboim engaged him as principal trumpeter of the Staatskapelle Berlin in 2007; there he has also taught as a mentor in the orchestra’s Academy. Since 2011 he has held the same position with the Bavarian Radio Symphony Orchestra. Angerer has performed as a guest artist with the Vienna Staatsoper Orchestra, the Munich Philharmonic, the Filarmonica della Scala, the Leipzig Gewandhaus Orchestra, the Berlin Radio Symphony Orchestra, and the Deutsches Symphonie-Orchester Berlin. He has appeared at the Salzburg and Bregenz Festivals and undertaken tours to many European countries, as well as the United States and Japan.
Julia Kleiter © Daniel Kleiter
The soprano Julia Kleiter, who comes from Limburg in Hesse, Germany, and who studied voice in Hamburg with William Workman and in Cologne with Klesie Kelly-Moog, began her international career in 2004 as Pamina in a staging of The Magic Flute by Robert Wilson at the Opéra national de Paris; Claudio Abbado then engaged her in the same role for performances in Reggio Emilia, Ferrara, Baden-Baden, and Edinburgh. Nikolaus Harnoncourt also became one of the singer’s early mentors. Under his direction, she sang Serpetta in Mozart’s La finta giardiniera at Zurich Opera in 2006 and Ilia in Idomeneo at the styriarte in Graz in 2008. Since 2006, Julia Kleiter has performed regularly at the Salzburg Festival, making her debut there in Mozart’s Lucio Silla; she later returned as Pamina (2012, under Harnoncourt), Emma in Schu-
bert’s Fierabras (2014), and Fiordiligi in Così fan tutte (2016). Other credits include at the Semperoper in Dresden, the Metropolitan Opera in New York, Chicago Lyric Opera, and the Bavarian Staatsoper. With the part of Eva in Die Meistersinger, which she sang for the first time in 2015 at the Berlin Staatsoper, she expanded her repertoire to include Wagnerian roles. In the fall of 2017, she made her role debut as Agathe in Weber’s Der Freischütz at La Scala in Milan; her debut at the Royal Opera House in London, which will be as Mozart’s Figaro Countess, has been planned for 2019. Julia Kleiter is a sought-after lieder singer and occasionally also concertizes with her uncle, the tenor Christoph Prégardien; she recorded The Italian Book of Songs by Hugo Wolf with him. As a concert singer, she works with such conductors as Ivor Bolton, Daniel Harding, René Jacobs, Fabio Luisi, Zubin Mehta, Marc Minkowski, and Riccardo Muti.
LUCERNE FESTIVAL debut on 7 September 2006 in lieder by Haydn, Wolf, and Strauss, accompanied by Hilko Dumno.
Gerhild Romberger © Rosa Frank
The German mezzo-soprano Gerhild Romberger, who comes from Lower Saxony in Germany, initially studied music education at the Music Academy in Detmold, where she also completed her vocal training under Hei-ner Eckels and graduated with concert-standard honors. She additionally took courses in lieder singing from Mitsuko Shirai and Hartmut Höll. From the beginning of her career, Gerhild Romberger has focused on concert singing. Her repertoire ranges from Baroque oratorios, cantatas, and Passions through the Classical and Romantic eras to vocal music of the 20th century. Gerhild Romberger has regularly collaborated with Manfred Honeck, who has engaged her for the mezzo and alto parts in the Mahler symphonies, Mozart’s Requiem, and Beethoven’s Missa solemnis and for the Grosse Messe by Walter Braunfels. She has performed with the Leipzig Gewandhaus Orchestra under Riccardo Chailly and the Bavarian Radio Symphony Orchestra under Bernard Haitink. She has also concertized with the Berlin Philharmonic and Gustavo Dudamel, the Los Angeles Philharmonic and Herbert Blomstedt, and the Bamberg Symphony under Daniel Harding and has appeared with Franz Welser-Möst at La Scala in Milan. In the 2017-18 season, Romberger has performed Mahler’s Das Lied von der Erde in Helsinki, Stockholm, and Berlin; in Madrid and Milano she has sung in Mahler’s Third; and she will interpret Schumann’s Das Paradies und die Peri with the Berlin Philharmonic under Sir Simon Rattle. In January 2018, she additionally devoted herself to Hindemith’s When Lilacs Last in the Dooryard Bloom’d with the NDR Elbphilharmonie Orchestra. Her recording of Das Lied von der Erde in the version for chamber orchestra garnered the Echo Klassik Award in 2015. Gerhild Romberger has been a professor of voice in Detmold since 2003.
LUCERNE FESTIVAL debut on 8 September 2013 in Mahler’s Second, the Resurrection Symphony, conducted by Mariss Jansons
Christian Elsner © Anne Hoffmann
The tenor Christian Elsner, who comes from Freiburg im Breisgau, studied with Martin Gründler at the Conservatory in Frankfurt am Main, where he also graduated from the lieder class led by Charles Spencer; he gained important inspiration from lessons with Dietrich Fischer-Dieskau in Berlin as well. From the start, the lieder and concert repertoire has formed the focus of his artistic activity, which has taken him to Carnegie Hall in New York, La Scala in Milan, and Suntory Hall in Tokyo. Christian Elsner has worked with such conductors as Herbert Blomstedt, Marek Janowski, Mariss Jansons, Lorin Maazel, Kent Nagano, Yannick Nézet-Séguin, and Sir Simon Rattle. With such pianists as Hartmut Höll, Gerold Huber, and Burkhard Kehring, he has given lieder recitals in Frankfurt, Hamburg, Dresden, Munich, and Brussels and at the Schubertiade in Feldkirch. In addition to these activities, Elsner has also accepted several operatic engagements and has sung Siegmund in Wagner’s Die Walküre at the Sächsische Staatsoper, Parsifal at the Vienna Staatsoper and the Teatro Real in Madrid, and Florestan in Beethoven’s Fidelio at the Grand Théâtre de Genève. In the last two years, Christian Elsner has performed in Mahler’s Das Lied von der Erde with the Berlin Philharmonic under Bernard Haitink, Haydn’s Creation with the Staatskapelle Berlin under Zubin Mehta, and Dvořák’s Requiem under Hartmut Haenchen at the Théâtre Royal de la Monnaie. In April 2018 he will sing in Beethoven’s Missa solemnis under Ma-rek Janowski in Weimar, and in May he will take part in a performance of Mendelssohn’s Paulus conducted by Fabio Luisi at the Maggio Musicale in Florence. Christian Elsner, who teaches voice at the conservatories of Karlsruhe and Würzburg, is the author of several children’s books; the most recently published of these is Lennie und Der Ring des Nibelungen.
LUCERNE FESTIVAL debut on 31 August 2003 in Liszt’s A Faust Symphonie led by Ingo Metzmacher.
The Austrian baritone Florian Boesch, who comes from a Viennese family of singers, had his earliest vocal training from his grandmother, Ruthilde Boesch, before beginning studies at the University for Music in Vienna, where he took Robert Holl’s classes in lieder and the oratorio. He began his international career in 2003 as Papageno at Zurich Opera. Since that time, Boesch has been a regular guest on many international stages. In 2017, he sang Méphistophélès in Berlioz’s La Damnation de Faust at the Berlin Staatsoper, with Sir Simon Rattle conducting; in the current season, he has already sung the title roles in Berg’s Wozzeck and Handel’s Saul at the Theater an der Wien. Boesch enjoyed a longstanding close partnership with Nikolaus Harnoncourt. Together, they performed works by Monteverdi, Bach, Handel, Haydn, Mozart, and Beethoven at the styriarte and Salzburg Festivals, as well as with the Berlin Philharmonic. Florian Boesch has also concertized with Ivor Bolton, Gustavo Dudamel, Iván Fischer, Valery Gergiev, Philippe Herreweghe, Sir Roger Norrington, and Robin Ticciati. In the 2014-15 season, he was artist-in-residence at Wigmore Hall in London, and he held the same position at the Vienna Konzerthaus in the 2016-17 season. Lieder singing is an important component of his work: credits include recitals at the Schubertiade, the Edinburgh Festival, the Amsterdam Concertgebouw, the Konzerthaus in Dortmund, the Philharmonie in Luxembourg, and the Musikverein in Vienna. Together with the Tyrolean Musicbanda Franui, he developed the project Alles wieder gut, which he will present in Brussels and at the Hamburg Elbphilharmonie in the spring of 2018. Florian Boesch’s recording of ballades by Loewe won the Edison Award in 2012. His latest CD, which was released in the fall of 2017, is devoted to Schubert’s Winterreise.
LUCERNE FESTIVAL debut on 12 September 2006 as Poeta in Salieri’s Prima la musica, poi le parole under the direction of David Stern.
Concert Introduction with Susanne Stähr (in German) | 17.30 | KKL Luzern, Auditorium