Ludwig van Beethoven: Missa Solemnis in D major op. 123

Golda Schultz, soprano
Wiebke Lehmkuhl, alto
Sebastian Kohlhepp, tenor
David Steffens, bass

Kirill Petrenko, conductor
Berliner Philharmoniker
Rundfunkchor Berlin

Franz Schubert: Das Zügenglöcklein, D. 871
Franz Schubert: Ganymed, D 544
Franz Schubert: Im Frühling, D 882
Franz Schubert: Der Jüngling an der Quelle, D 300
Franz Schubert: Herbst, D 945
Robert Schumann: Liederkreis, op. 24 nach Heinrich Heine
Gabriel Fauré: Notre amour op. 23/2
Gabriel Fauré: Le Papillon et la Fleur, op. 1/1
Gabriel Fauré: Les roses d'Ispahan, op. 39/4
Henri Duparc: Chanson triste »Trauriges Lied«
Henri Duparc: Phidylé (Mélodies Nr. 16)
Henri Duparc: L'invitation au voyage (Mélodies Nr. 1)
Richard Strauss: "Ruhe, meine Seele!" op. 27,1
Richard Strauss: Cäcilie op. 27/2 (Vier Lieder)
Richard Strauss: Heimliche Aufforderung, op. 27/3
Richard Strauss: Morgen Op. 27/4

Anja Mittermüller, mezzo-soprano (Great Talent)
Richard Fu, piano

Ludwig van Beethoven: Missa Solemnis in D Major, op. 123

Lina Johnson, soprano
Olivia Vermeulen, mezzo-soprano
Martin Platz, tenor
Manuel Walser, baritone

Jordi Savall, conductor
La Capella Nacional de Catalunya
Le Concert des Nations

Thomas Hampson, Don Alfonso
Kathryn Lewek, Fiordiligi
Siyabonga Maqungo, Ferrando
Patricia Nolz, Dorabella
Markus Werba, Guglielmo
Kate Lindsey, Despina

Camerata Salzburg
Ivor Bolton, musical direction
Bettina Geyer, scenic setup

Ludwig van Beethoven: Missa Solemnis in D major op. 123

Golda Schultz, soprano
Wiebke Lehmkuhl, alto
Sebastian Kohlhepp, tenor
David Steffens, bass

Kirill Petrenko, conductor
Berliner Philharmoniker
Rundfunkchor Berlin

About the Concert

When Johannes Brahms advised his student Gustav Jenner to first recite a poem like an actor before setting it to music, he had in mind the style of theatrical speech common at the time. Richard Wagner, too, wished for singers to begin by speaking the texts when rehearsing his operas, and only later to learn the vocal lines. Arnold Schönberg even attempted to notate theatrical speech using a system developed by Engelbert Humperdinck.

Today, more than 100 years later, this form of theatrical speech is hardly in use and often no longer familiar. While an actor such as Attila Hörbiger was still able to perform Jedermann at Salzburg’s Cathedral Square without technical amplification, actors today are increasingly miked in theatrical productions. The aesthetic reference for stage speech has shifted toward film and television—something both performers and audiences have long grown accustomed to. This evening aims to make tangible just how closely recitation and singing were once connected on stage.

Georg Nigl, baritone
Nicholas Ofczarek & August Diehl, recitation
Alexander Gergelyfi, piano
Markus Edelmann, dramaturgy

Johann Sebastian Bach: Musikalisches Opfer, BWV 1079: Ricercar a 6 (arr. Anton Webern)
Felix Mendelssohn Bartholdy: Piano Concerto No. 2 in D minor, Op. 40
Johannes Brahms: Symphony No. 4 in E minor, Op. 98

Antonello Manacorda, conductor
Seong-Jin Cho, piano
San Francisco Symphony

Ludwig van Beethoven: Missa Solemnis in D major op. 123

Golda Schultz, soprano
Wiebke Lehmkuhl, alto
Sebastian Kohlhepp, tenor
David Steffens, bass

Kirill Petrenko, conductor
Berliner Philharmoniker
Rundfunkchor Berlin

About the Concert

When Johannes Brahms advised his student Gustav Jenner to first recite a poem like an actor before setting it to music, he had in mind the style of theatrical speech common at the time. Richard Wagner, too, wished for singers to begin by speaking the texts when rehearsing his operas, and only later to learn the vocal lines. Arnold Schönberg even attempted to notate theatrical speech using a system developed by Engelbert Humperdinck.

Today, more than 100 years later, this form of theatrical speech is hardly in use and often no longer familiar. While an actor such as Attila Hörbiger was still able to perform Jedermann at Salzburg’s Cathedral Square without technical amplification, actors today are increasingly miked in theatrical productions. The aesthetic reference for stage speech has shifted toward film and television—something both performers and audiences have long grown accustomed to. This evening aims to make tangible just how closely recitation and singing were once connected on stage.

Georg Nigl, baritone
Nicholas Ofczarek & August Diehl, recitation
Alexander Gergelyfi, piano
Markus Edelmann, dramaturgy

Johann Sebastian Bach: Musikalisches Opfer, BWV 1079: Ricercar a 6 (arr. Anton Webern)
Felix Mendelssohn Bartholdy: Piano Concerto No. 2 in D minor, Op. 40
Johannes Brahms: Symphony No. 4 in E minor, Op. 98

Antonello Manacorda, conductor
Seong-Jin Cho, piano
San Francisco Symphony