»Encore« Jörg Tröger talks to Chouchane Siranossian and Jakob Lehmann (Ballsaal, Stadthalle)
Herrn Dr. Hans-Peter Wild
Subsequent Party at Ballsaal
Dr. Renate Keysser-Götze, Dr. Dietrich Götze und
Wir thank Marienhaus-Stiftung Heidelberg
Innocence in Danger e.V. is global movement against sexual abuse of children. The Heidelberger Frühling supports the association on its matters and organizes this concert in cooperation with Innocence in Danger.
»Encore« Jörg Tröger talks to Anna Prohaska (Stadthalle Ballsaal)
The Bergen Philharmonic Orchestra, one of the world’s oldest orchestras, dates back to 1765 and celebrated its 250th anniversary in 2015. Edvard Grieg had a close relationship with the Orchestra, serving as its artistic director during the years 1880 – 82. The one-hundred-and-one strong orchestra has status of Norwegian national orchestra. Edward Gardner is Chief Conductor. The Orchestra enjoys a high international standing through recordings, extensive touring and international commissions.
During the last few seasons the orchestra has played in the Concertgebouw, Amsterdam, at the BBC Proms in the Royal Albert Hall, at the Edinburgh International Festival, in the Wiener Musikverein and Konzerthaus, in Carnegie Hall, New York, and in the Philharmonie, Berlin. It toured Germany, Sweden, England and Ireland.
The orchestra established in 2015 its own free live stream service, BergenPhiLive.no. A youth symphony orchestra, Bergen Philharmonic Youth Orchestra, is also established, and gives four to six concerts per year.
The Orchestra has an active recording schedule, at the moment releasing four CDs every year. Enjoying long-standing artistic partnerships with some of the finest musicians in the world, the Orchestra has recorded with Leif Ove Andsnes, Jean-Efflam Bavouzet, James Ehnes, Gerald Finley, Stuart Skelton, Alban Gerhardt, Vadim Gluzman, Stephen Hough, Freddy Kempf, Truls Mørk, Steven Osborne, and Lawrence Power, among others.
Anima Eterna Brugge was founded in 1987 by Jos van Immerseel. The aim was to perform orchestral and chamber music with the instruments and techniques known to the composer. The orchestra is based on research, the joy of experimentation, commitment and the joy of making music. Anima Eterna Brugge enjoys a special international reputation for music of the 17th to 20th centuries. The orchestra resides in the Concertgebouw Brugge and is associated with the Opéra de Dijon as an “ensemble associé”. Concert tours take the ensemble from Mexico to Sydney, and thanks to its discography (Outhere Music/Alpha Classics) its music fills numerous living rooms worldwide. With “Anima Next Generation”, young talents are to be promoted even more strongly.
Renowned as much for their expressiveness and vitality as for their integrity and precision, Masques is an ensemble which fully embodies the dynamic spirit of the Baroque. The name of the group is inspired by the masques of Elizabethan England — dramatic entertainments that incorporated music, dance and poetry. The six members of Masques each have impressive individual careers, with a collective résumé that encompasses a prestigious roster of international early music ensembles. When they come together, their combined breadth of experience is felt in an uncommon interpretive depth, bound together by an equally uncommon chemistry which continues to mesmerize audiences and critics alike.
A chamber group without conductor, Masques benefits from the creative involvement of each member. Their shared curiosity has lead them, and their audiences, along an ever-evolving path of discovery. From their deep immersion into the fascinating world of 17th century German music, to the unveiling of Telemann’s universalism, humour and humanism, to their interest in the initiatory journey of “The Grand Tour,” Masques’ artistic choices are underpinned by the same appetite for trade, blending, borrowing and mixing that was the very breath of the Baroque era itself. It is a spirit reflected in the diverse nationalities of Masques’ musicians, who hail from Australia, Belgium, Canada, Finland and France — and through their playing, made new.
Masques’s concert schedule has taken them to Germany, Italy, France, Portugal, Spain, Poland and Austria; to The Netherlands at Amsterdam’s Musiekgebouw and Utrecht’s renowned Early Music Festival; to Belgium at Brussels’ Bozar, Antwerp’s AMUZ and Gent’s Bijloke. They have also appeared in most major centres in Canada and the United States, including New York, Toronto, Montreal, Vancouver and Los Angeles. An exclusive artist for the ALPHA label, their discs dedicated to17th century Austrian composers Johann Heinrich Schmelzer and the almost unknown Romanus Weichlein have enjoyed unanimous critical praise, between them receiving the Diapason d’Or, the “ffff” Telerama, the two “Chocs” de Classica and Gramophone Magazine’s “Editor’s Choice” award. Most recently, they have celebrated the music of Georg Philipp Telemann with an acclaimed recording of his Theatrical Overture-Suites, in honour of the 250th anniversary of the composer’s death in 1767. Other critically acclaimed albums have been recorded on the ATMA, Dorian and Analekta labels. Two forthcoming recording projects for ALPHA are slated for release in 2019.
Mécénat Musical Société Générale is the primary sponsor of Ensemble Masques.
The musicians of the Cappella Andrea Barca are primarily active as globally successful soloists and chamber musicians and are not tied to any orchestras. They were selected personally by Sir András Schiff for the performance of the complete Mozart Piano Concertos at the Mozartwoche Salzburg from 1999 to 2005. Since then, the Cappella Andrea Barca has been a regular guest at the Salzburg Mozartwoche.
Gradually, under the direction of Sir András Schiff, the orchestra widened their scope. Since 1999, they have organized the Omaggio a Palladio Festival at the Olimpico Theatre in Vicenza, where, in 2001, they were also involved in three performances of Mozart’s Così fan tutte. The ensemble was also a guest at the Kunstfest Weimar in the years 2004-2007. In addition, they have toured numerous European cities such as Vienna, Innsbruck, Zurich, Basel, Geneva, Athens, Brussels, Luxembourg, Cologne, Essen, Frankfurt, Bremen, Baden-Baden, Budapest and Lisbon. Two tours in the Mozart Year 2006 led Andrea Barca to the USA, where they were invited to New York’s Carnegie Hall for three concerts, as well as the Lincoln Center and the Kennedy Center, Washington. At the Beethovenfest Bonn 2008 and 2010 Andrea Cappella performed further concerts. In 2012 Cappella Andrea Barca could be seen and heard at the Lucerne Festival, where they performed Bach’s B-flat Minor Mass to great acclaim. In the spring of 2014, they performed Beethoven’s Missa Solemnis in collaboration with the Balthasar Neumann Chorus and conducted by Sir András Schiff. In 2014 and 2015 the Cappella Andrea Barca, led by Sir András Schiff, was part of a Schubert cycle at the Schubertiade in Schwarzenberg (Austria) and in 2016 at the Schleswig-Holstein Music Festival, the Rheingau Music Festival and in 2017 was guest at the Sommets Musicaux de Gstaad Festival.
Very little is known about Andrea Barca’s life, despite the diligent efforts of present-day musicologists. He was born most probably between 1730 and 1735 in Marignolle, near Florence, Italy. His parents and ancestors were contadini (“peasants”). He had close contact with Mozart, having participated at the latter’s private concert – on April 2, 1770, at the Villa Poggio Imperiale in Florence – as page turner. Ever since that day, he decided to devote his life to the interpretation of Mozart’s keyboard works. His enthusiasm brought him to Salzburg, where his efforts were received with mixed success – thanks to the famous local press. Thus, our musician returned to his homeland, working as a composer and pianist. Among his numerous compositions is La ribollita bruciata, an opera that must be seen as one of the highlights of Tuscan music history. Ribollita is a traditional Tuscan soup made of bread, beans, and vegetables; the title of the opera means “The burnt ribollita.”
Andrea Barca’s death – when, where, and under what circumstances he died (if he died) – continues to remain a mystery. “
Sir András Schiff’s ambition is to present Cappella Andrea Barca in a way that allows the ensemble to prove themselves in soloist and chamber music formations, which is something that most established orchestras will struggle to achieve. “What I work with as a conductor is an extension of chamber music; the cappella is a chamber music ensemble of excellent soloists, but above all chamber musicians. There are many string quartet players in this orchestra, and playing the string quartet is the pinnacle of making music.” Moreover, Sir András Schiff considers the human and personal component equally important:” There is no place for the egotist. This ensemble is based on friendship, understanding, equality and equal ideals – aesthetic, musical and human.”
The vocal-instrumental ensemble Zefiro Torna brings to life the cultural heritage from the middle ages, renaissance and baroque in a unique way. The ensemble does not limit itself to a merely historical approach but combines it with other musical traditions, as well as literature, science, philosophy and current art expressions in the field of fine arts, theatre and dance. This results in fascinating pieces of ‘Gesamtkunst’ around a variety of symbolic or allegorical themes.
Therefore, the ensemble entered into dialogue with individual artists, directors, choreographers, composers and performers as Anne-Mie Van Kerckhoven, Bram Bosteels, Brody Neuenschwander, Dick van der Harst, Ghalia Benali, Ief Spincemaille, Jeroen d’Hoe, Martin Valcke, Mauro Pawlowski, Sigrid T’Hooft, Stefaan Degand, Stevie Wishart, Timo Van Luijk, Tom Hannes and with ensembles as Abattoir Fermé, ARSENAAL/LAZARUS, Antwerps Kathedraalkoor, Figurentheater De Maan, Frank Vaganée Trio, Ialma, LOD, Pantalone, Psallentes, Ultima Thule, Vlaams Radiokoor/Hervé Niquet, Vocalconsort Berlin, ZOO/Thomas Hauert.
Through this approach, Zefiro Torna has gained international renown. The ensemble is a welcomed guest in prestigious (inter)national concert venues as Amuz, Bozar, Concertgebouw Brugge, De Bijloke, De Singel, Flagey, Handelsbeurs, Kaaitheater, Muziekgebouw aan ‘tIJ Amsterdam, Philharmonie Haarlem, Radialsystem V/Berlin, Vredenburg Utrecht, Wilminktheater Enschede and art and music festivals as Brosella, Charleroi Danses, Festival de Wallonie, Festival van Vlaanderen-Mechelen, Klarafestival, Laus Polyphoniae, MAfestival Brugge, Zomer van Antwerpen, Banchetto Musicale/Vilnius, Biennale Alter Musik/Konzerthaus Berlin, Concentus Moraviae, Festival de Musica Antigua de Sevilla, Festival Oude Muziek Utrecht, Festival Seviqc-Brezice Slovenië, Frysk Festival, Gergiev Festival Rotterdam, Internationale Orgelwoche Nürnberg, Landshuter Hofmusiktage, Musikfestspiele Potsdam Sanssouci, Operadagen Rotterdam, Theaterfestival Boulevard ’s-Hertogenbosch en Zeeland Nazomer Festival.
Their creations are regularly awarded and several of them have been released on the labels Et’Cetera, Warner Classics and Homerecords.
Under the baton of its Music Director, the young Lithuanian conductor Mirga Gražinytė-Tyla, the City of Birmingham Symphony Orchestra (CBSO) is one of the UK’s leading symphony orchestras. Based at Birmingham’s Symphony Hall, it performs over 150 concerts each year in Birmingham and beyond – as well as managing four choruses, a youth orchestra, and a Learning and Participation programme that touches over 70,000 lives every year.
Elgar conducted the CBSO’s first symphonic concert in November 1920, and in 1962 the CBSO gave the world premiere of Britten’s War Requiem. In 1980, the CBSO appointed the 25-year old Simon Rattle as its principal conductor – propelling both Rattle and the orchestra into the international spotlight. Rattle’s successors Sakari Oramo (1998-2008) and Andris Nelsons (2008-2015) continued to cement that worldwide reputation.
Now, under the dynamic leadership of Mirga Gražinytė-Tyla, associate conductor Michael Seal, assistant conductor Jonathan Bloxham and chorus director Simon Halsey CBE, the CBSO continues to build on its strengths as an international orchestra based in a diverse and energetic 21st century city. We hope you enjoy tonight’s performance and extend the warmest possible invitation to come and hear us in our home: Birmingham, the “Heart of England”.
The Radio Choir of the SWR is one of the world’s renowned vocal ensembles. For seventy years the ensemble has focussed on exemplary performances and the development of the vocal music with passion and the highest singing competence. The choir’s sound and the enormous vocal and stylistic flexibility of the singers are unique and not only fascinate the audience, but also contemporary composers. Since 1946 the SWR has commissioned several compositions for his choir. The ensemble premiered more than 250 choral works, often making the impossible possible and the unthinkable conceivable. In addition to contemporary music, the SWR vocal ensemble is particularly devoted to the demanding choral works of Romanticism and Classical Modernism.
Marcus Creed has been the artistic director since 2003. Under his direction, the SWR vocal ensemble was awarded several times for his chamber music-like interpretations, including four times with the ECHO Klassik.
The choir’s passion for new vocal music is also a remarkable part of the choir’s academy, school projects as well as children’s and youth concerts. Several awards for the quality of their educational projects include the “Junge-Ohren-Preis”, the “ECHO Klassik für Kinder” and the “Leopold” media award.
German conductor Christian Reif joined the San Francisco Symphony as their Resident Conductor and Wattis Foundation Music Director of the internationally acclaimed San Francisco Symphony Youth Orchestra (SFSYO) in the 2016-17 season, after making a “powerful symphony debut” with the Symphony in fall 2015. He came to San Francisco from Miami, where he was the Conducting Fellow with the New World Symphony for the past two seasons.
Highlights of his career include leading the Munich Chamber Opera in performances of Mozart’s La finta semplice in Munich’s Cuvilliés Theater, performing with the Meininger Hofkapelle and leading the Tanglewood Music Center Orchestra in Shostakovich’s 14th Symphony. As part of efforts to bridge cultures through music, he led the Deutsche Staatsphilharmonie Rheinland-Pfalz in the world premiere of Mehmet C. Yesilçay’s Lieder aus der Fremde, which addresses the current European refugee crisis.
Mr. Reif has led several orchestras and ensembles both in the US and abroad such as the Lakes Area Music Festival Orchestra, The Juilliard Orchestra, Salzburg Chamber Soloists, Georgian Chamber Orchestra, and the Israel Chamber Orchestra. He has performed with soloists including Dawn Upshaw, Sanford Sylvan, Julia Bullock and Barbara Bonney.
In 2014, Mr. Reif completed his Master of Music in Conducting at The Juilliard School under Alan Gilbert, after studying with Dennis Russell Davies at the Mozarteum Salzburg. For his outstanding achievements at The Juilliard School, Christian Reif is the recipient of the Charles Schiff Conducting Award. He also holds a scholarship from the German study promotion program of the Cusanuswerk and two Kulturförderpreise, awards given to promising artists of the region who promote cultural advancement in their communities.