Kirill Petrenko © Monika Rittershaus
Do you not yet have a customer account? Please register here.
Kirill Petrenko © Monika Rittershaus
Symphony Concert 10
Berlin Philharmonic | Berlin Radio Choir | Kirill Petrenko | soloists
(Gijs Leenaars chorus master)
“All humanity will become brothers”: Hardly any other work declares such a resolute political vision as Beethoven’s Ninth, which sets to music Schiller’s poem An die Freude. But this symphony also stands apart from any other in terms of being appropriated for the purposes of power – from many different sides. The Socialists made it resound as a triumphal song for the struggling working class, the Nazis used it as a screen on which to project the obsession of “Germanness” with victory, the EU chose the final melody as an anthem to celebrate united Europe. For the Berlin Philharmonic as well, the Ninth will be connected to a special occasion this summer, as Kirill Petrenko officially inaugurates his tenure as new chief conductor with it – on the Spree as well as on Lake Lucerne. Before the Ninth we will hear a “medley” from Alban Berg’s opera Lulu as an equally fitting contribution to the Festival theme of “Power.” The title heroine is a dominatrix, a kind of female Don Juan, who attracts whoever approaches her like a magnet and rips them apart, leading to their ruin: Lulu, “the true, the wild, beautiful animal,” as the libretto puts it.
Berliner Philharmoniker | Kirill Petrenko © Monika Rittershaus
In 1882 a group of 54 ambitious musicians in Berlin formed an orchestra to perform concerts under their own aegis, thus giving birth to the Berlin Philharmonic. As their leader they chose Hans von Bülow, one of the finest conductors of the era, who laid the foundations for the Philharmonic’s culture of distinguished playing. His successors have included Arthur Nikisch (1895–1922), Wilhelm Furt-wängler (1922–54), and Herbert von Karajan (1955–89), all of whom developed the signature Berlin sound. It was in the Karajan era that the Berlin Philharmonic attained worldwide fame through its tours and many prize-winning recordings. Since October 1963, the Philharmonic’s home has been the Philharmonie in Berlin, a 2,400-seat concert hall designed by Hans Scharoun. After Karajan’s death in 1989, the players elected Claudio Abbado as their leader. He expanded the repertoire to include contemporary works and introduced program cycles focusing on specific themes. Sir Simon Rattle, who stood at the helm from 2002 until the summer of 2018, performed music from the Baroque to the present. Kirill Petrenko began his tenure as Chief Conductor in August 2019; in his inaugural season, he will conduct such symphonic milestones as Beethoven’s Ninth and Mahler’s Sixth as well as music by Sergei Rachmaninoff and Josef Suk. With its Digital Concert Hall, which is celebrating its tenth anniversary in 2019, the orchestra meanwhile reaches an audience of millions around the world and annually streams 40 concerts live on the Internet. The ensemble has been releasing CDs and DVDs on its in-house Berliner Philharmoniker Recordings label since 2014. Once a year, the musicians also perform as an opera orchestra during their Easter Festival, which has been taking place in Baden-Baden since 2013. The Berlin Philharmonic performed Verdi’s Otello there in 2019, and for 2020 they have programmed Beethoven’s Fidelio, conducted by Petrenko.
LUCERNE FESTIVAL (IMF) on 30 August 1958 playing Beethoven’s Ninth Symphony under the direction of Herbert von Karajan.
For further information on this ensemble, visit their homepage at: www.berliner-philharmoniker.de
July 2019Other dates
Rundfunkchor Berlin © Rundfunkchor Berlin/Jonas Holthaus
Berlin Radio Choir
The Rundfunkchor Berlin was founded in 1925 and already stood out in the first years of its existence through its collaborations with such conductors as George Szell, Otto Klemperer, Hermann Scherchen, and Erich Kleiber, as well as by giving significant world premieres, including of works by Arthur Honegger, Ernst Krenek, Darius Milhaud, and Kurt Weill. The choir, which is praised for its warm sound, homogeneity, and precision, today gives about 60 concerts per year, including at its home base with the Berlin Philharmonic, the Deutsches Symphonie-Orchester Berlin, and the Rundfunk-Sinfonierochester Berlin, but also in international guest performances. For example, its project human requiem, which is a staged adaptation of the Brahms Requiem with the Compagnie Sasha Waltz & Guests, has taken the singers to New York, Hong Kong, Paris, Brussels, Athens, and Australia in recent years. In the 2018-19 season, they performed concerts in Szczecin, Barcelona, and Istanbul. With its community projects such as the annual Sing-Along Concert, the Festival of Choral Cultures, and the Song Exchange for children and young students, the Rundfunkchor Berlin hopes to attract as many people as possible to singing. It moreover promotes the next generation of professionals with an academy and a master class. The choir’s recordings have won numerous prizes, among which are three Grammy Awards. Gijs Leenaars, who was born in the Netherlands in 1978, has been the Rundfunkchor’s chief conductor and artistic director since 2015. He previously helmed the Dutch Radio Choir and is a committed advocate of contemporary music. The Rundfunkchor Berlin is an ensemble of Rundfunk Orchester und Chöre GmbH, and its shareholders include Deutschlandradio, the Federal Republic of Germany, the State of Berlin, and Radio Berlin-Brandenburg.
LUCERNE FESTIVAL debut on 29 August 2006 in works by Weill, Schoenberg, and Bernstein conducted by John Axelrod.
July 2019Other dates
Kirill Petrenko © Kai Bienert
Kirill Petrenko takes over the reins as Chief Conductor of the Berlin Philharmonic at the beginning of the 2019-20 season and is also serving as General Music Director of the Bavarian Staatsoper until the summer of 2020. Born in 1972 in Omsk, West Siberia, to a violinist and a musicologist, Petrenko started performing as a pianist with the symphony orchestra of his native city when he was only eleven. The family moved to Vorarlberg in 1990, where he began his musical studies at the Feldkirch State Conservatory, later graduating with distinction from the Vienna University of Music in 1995. In 1997 he was named General Music Director of the Meiningen Theater, and, from 2002 to 2007, he held the same position at the Komische Oper Berlin. Since 2013, Petrenko has worked at the Bavarian Staatsoper, where in the 2019-20 season he will conduct new productions of Korngold’s Die tote Stadt and Verdi’s Falstaff. In his first season with the Berliners, he will conduct five programs and will also tour to Israel in May 2020. He has appeared as a guest conductor at the Vienna and Dresden Staatsoper companies, the Gran Teatre del Liceu in Barcelona, the Royal Opera House in London, the Opéra national de Paris, and the Metropolitan Opera in New York. From 2013 to 2015, he conducted Wagner’s Ring cycle in Bayreuth. In the concert hall, Petrenko has additionally collaborated with the Vienna Philharmonic, the Berlin and Dresden Staatskapelle ensembles, the Cleveland Orchestra, the Chicago Symphony Orchestra, the London and Israel Philharmonics, the Royal Concertgebouw Orchestra Amsterdam, and the Orchestra dell’Accademia Nazionale di Santa Cecilia. He has been named Conductor of the Year four times to date by the critics of Opernwelt magazine and, in 2014, by the jury of the International Opera Award as well.
LUCERNE FESTIVAL debut on 7 September 2016, when Petrenko conducted the Bavarian Staatsorchester in a Wagner-Strauss program.
July 2019Other dates
Marlis Petersen © Yiorgos Mavropoulos
A native of Sindelfingen, Germany, soprano Marlis Petersen studied at the Stuttgart Academy of Music, where Sylvia Geszty was one of her teachers. Her first permanent engagement took her to Nuremberg in 1994; in 1998 she joined the ensemble of the Deutsche Oper am Rhein in Düsseldorf, where she remained a member until 2003. While there, she took on such roles as Konstanze in Mozart’s The Abduction from the Seraglio, Sophie in Strauss’s Der Rosenkavalier, and Norina in Donizetti’s Don Pasquale. Marlis Petersen made her Vienna Staatsoper debut in 2002 as Berg’s Lulu. Soon after came her debuts at the Royal Opera House in London as Zerbinetta in Strauss’s Ariadne, at both the Metropolitan Opera in New York and Chicago Lyric Opera as Adele in Die Fledermaus, and as Zdenka in Strauss’s Arabella at the Bavarian Staatsoper. She has appeared at the Salzburg Festival and the Festival d’Aix-en-Provence as a Mozart interpreter. Petersen has also taken part in several world premieres: as Aphrodite in Henze’s Phaedra at the Berlin Staatsoper, as Marta in Trojahn’s La grande magia at the Semperoper in Dresden, and in the title role of Reimann’s Medea at the Vienna Staatsoper. In recent years, she has gradually expanded her repertoire to encompass more dramatic roles. Under the direction of René Jacobs, she sang Leonore in the original version of Beethoven’s opera, appeared in Frankfurt as Hanna Glawari in Lehár’s The Merry Widow and as Marietta in Korngold’s Die tote Stadt in Warsaw, and, in June 2019, made her role debut as Strauss’s Salome at the Bavarian Staatsoper. She will be artist-in-residence with the Berlin Philharmonic during the 2019-20 season. The critics of Opernwelt magazine have chosen Marlis Petersen as Singer of the Year three times: in 2004, 2010, and 2015. She was awarded the Austrian Music Theater Prize in 2013.
LUCERNE FESTIVAL debut on 29 August 2004 with works by Beethoven in a concert by the Lucerne Symphony Orchestra under Christian Arming.
Elisabeth Kulman © Julia Wesely
Elisabeth Kulman, who was born in 1973 in Burgenland, Austria, initially focused on Slavic languages and Finno-Ugric Studies in Vienna, but in 1995 she decided to study singing with Helena Lazarska and graduated with distinction in 2001. In the same year, Kulman made her debut at the Vienna Volksoper as Pamina in The Magic Flute, launching a successful career as a soprano. In 2005 she made a transition to the mezzo and alto repertoires, which she has sung ever since. Credits include Gluck’s Orpheus at the Opéra national de Paris and the Salzburg Festival; Prince Orlofsky (Die Fledermaus), Mrs. Quickly (Falstaff), and Herodias (Salome) at the Vienna Staatsoper; and Carmen at the Berlin Staatsoper. Kulman covers an historical and stylistic spectrum that ranges from Baroque opera and bel canto through Richard Wagner to contemporary music. She performed in Offenbach’s Barbe-Bleue at the styriarte as well as in a Mozart-Da Ponte cycle at the Theater an der Wien with Nikolaus Harnoncourt. Herbert Blomstedt, Mariss Jansons, Zubin Mehta, Kirill Petrenko, Sir Simon Rattle, and Christian Thielemann are also among her partners on the podium. Since 2015, Kulman has concentrated her artistic activities on lieder recitals, concerts, and concert opera performances. These also include such interdisciplinary programs as Mussorgsky Dis-Covered with a jazz quartet, Mahler Lieder with the Ensemble Amarcord Wien, and Hungaro Tune with symphony orchestra and jazz soloists. Her most recent project is the “multi-genre music show” La femme c’est moi, which she performed in the 2018-19 season in Munich, Vienna, and Tokyo as well as at the Heidelberger Frühling Festival. Elisabeth Kulman is committed to the “art but fair” initiative, which advocates better working conditions for artists.
LUCERNE FESTIVAL debut in the summer of 2013 as Fricka and Waltraute in Wagner’s Der Ring des Nibelungen.
Benjamin Bruns © Sara Schoengen
Benjamin Bruns began his vocal career as an alto soloist in the boys’ choir of his native Hanover. After taking private lessons with Peter Sefcik, he studied at the Hamburg Music Academy with Renate Behle and was engaged during his training by the Bremen Theater, where he acquired a broad repertoire as a lyric tenor. Positions at Cologne Opera and the Dresden Staatsoper eventually led him to the Vienna Staatsoper starting in 2010, with which he remains associated as a resident artist. Bruns sings such Mozart roles as Belmonte (The Abduction from the Seraglio), Tamino (The Magic Flute), Don Ottavio (Don Giovanni), and Ferrando (Così fan tutte) and also performs Italian repertoire (for example, Don Ramiro in Rossini’s La cenerentola) and such selected Wagner roles as Erik in The Flying Dutchman, David in Die Meistersinger, and Loge in Das Rheingold. From 2012 to 2016, he played the Helmsman in Dutchman at the Bayreuth Festival. In the 2018-19 season, Bruns made his role debut as Alwa in Berg’s Lulu at the Teatro Municipal de Santiago and appeared as Hylas in a new production of Berlioz’s Les Troyens at the Vienna Staatsoper, as Tamino at the Bavarian Staatsoper, and as Wenzel in Smetana’s The Bartered Bride at the Dresden Staatsoper. Oratorio and lieder singing are a significant counterpart for Bruns to his work on the opera stage. His concert repertoire ranges from Bach and Handel to the Viennese classicists, Schumann, Mendelssohn, and Bruckner. He has performed with such renowned orchestras as the Berlin Philharmonic, the Dresden Staatskapelle, the Leipzig Gewandhaus Orchestra, the Boston Symphony Orchestra, the Czech Philharmonic, and the Orchestra dell’Accademia Nazionale di Santa Cecilia.
Kwangchul Youn © hkphil.org
The South Korean bass Kwangchul Youn began his education at the university of his native Chungju. He moved to Europe in 1990 to continue his vocal studies at the Music Academy in Sofia and later at the University of the Arts in Berlin, where he graduated in 1993. In the same year, Youn was a winner at Plácido Domingo’s Operalia Competition and became a permanent member of the Berlin Staatsoper ensemble, where he remained for eleven years. He made his debut there in numerous major roles of the bass repertoire, from Mozart, Beethoven, and Rossini through Meyerbeer and Lortzing to Verdi, Puccini, Wagner, and Strauss. Between 1996 and 2015, Youn was a permanent guest at the Bayreuth Festival, where he appeared as Landgrave Hermann in Tannhäuser, King Marke in Tristan, Fasolt and Hunding in The Ring, Gurnemanz in Parsifal, and Daland in The Flying Dutchman. He has also performed at such leading international venues as the Vienna and Bavarian Staatsoper companies, the Royal Opera House in London, the Metropolitan Opera in New York, La Scala in Milan, the Opéra national de Paris, and the Gran Teatre del Liceu in Barcelona. In the 2018-19 season, Youn appeared as Ferrando in Verdi’s Il trovatore at the Bavarian Staatsoper, King Heinrich in Wagner’s Lohengrin in Vienna, and, in Berlin, as Sarastro in Mozart’s The Magic Flute and Pogner in Wagner’s Die Meistersinger; he will return to the Metropolitan Opera in the fall of 2019 to sing in Massenet’s Manon. Youn has worked with many renowned conductors, including Daniel Barenboim, James Levine, Zubin Mehta, Kirill Petrenko, and Christian Thielemann. His artistic work has been documented on numerous CDs and DVDs. Kwangchul Youn was named a Berliner Kammersänger in 2018.
LUCERNE FESTIVAL debut on 18 September 2011, when he sang the role of Hunding in a concert performance of the first act of Wagner’s Die Walküre with the Staatskapelle Berlin
under Daniel Barenboim.
18.30 | KKL Luzern, Auditorium
Concert Introduction with Susanne Stähr (in German)